Hancock

Hancock – 2008

John Hancock is an abnormal superhero to be certain. He gives a whole new meaning to the phrase “reluctant hero”, and as such Peter Berg’s Hancock is a thoroughly original and at times intriguing excursion into the superhero genre. Unfortunately, this film is an example of how originality does not always equal total success, but enough works to be an enjoyable diversion.

The opening half of the movie is when Hancock is at its strongest; featuring scenes of his escapades (including 9 million dollars in damages, assaults and train derailments), deplorable behaviour of the verbal and physical variety and his eventual reform. It is the latter middle segment that slumps the most, but receives a rejuvenating jolt in the mostly thrilling, although under realized conclusion, which I will remark upon later. The largest criticism being heaped on this film is that too many genres are being compacted into its lean running time. However, the comedic portions were much more subtle and infrequent then I was expecting and as such, the dramatic and action oriented remainders meshed fairly well. A number of the action sequences in fact were quite exhilarating. That is not to say Hancock does not have its funny moments, in fact every joke hits home, thanks chiefly to Smith’s impeccable delivery and fits well in the context of the film. A more narrowly focussed narrative would likely have improved the feel of the film, but this is a minor quibble for me, in the shadow of more grievous impairments .

John Hancock (Will Smith) does not know who he is. He drifts through his miserable life day to day, sluggishly dispersing his help amongst those who need (although may not want) it. It is not until he saves a struggling pubic relations worker, Ray Embrey (Jason Bateman) that things start to go his way. Befriending Ray, his wife Mary (Charlize Theron), who is not too pleased to have him in their lives, and their adoring son Jae, he devises a comprehensive image overhaul, and after serving a brief prison stint, Hancock is absolved of his pariah status, and becomes what the city needs, and he wants to be. Smith continues his streak of excellent performances, and any issues with this picture lie with direction, scripting, screenplay and any other lacking areas, not his acting ability. Nor with Bateman, who since his departure from Arrested Development has been a solid and reliable presence in Hollywood. Theron give a nothing performance, but is really given nothing to work with, and her role in the final act is her only real saving grace.

Now for the promised discussion of the final act which is an interesting calamity. It bears all the signs of studio interference, and a truly breathtaking ending is egging to burst free. This marks the second Smith venture in a row after I Am Legend which has suffered from Hollywood-itis. That being said, the ending that does exist has an interesting amount of depth. Examining it more closely, the conclusion still boasts some emotional jabs and a solid coherence (Compromised as it may be) that fits comfortably in its teen oriented niche.

Reflecting, it is the sadness of not seeing the ending that could have been, the wooden performance by Theron and the droning precursor to the finale that gives this popcorn flick its hangover. So while Hancock may not be the best superhero movie to grace the screens this year, it is certainly daring in many ways and is most certainly the only place this year you can see a flying drunk hurl cars, whales and children into the horizon.