Hancock

Hancock is an asshole. At least that’s what he’s accused of being by several different passersby in the opening scene of this left-of-center take on the modern superhero. Bankable box office star Will Smith, known for his infallible ability to fill seats at the multiplex, takes a calculated risk by playing a plainclothes hero, a crime fighter with no apparent alter ego, a graying goatee, a raging liquor problem, a curmudgeonly attitude, and supreme strength in Hancock .

There are no Marvel or DC Comics-inspired thematic threads woven throughout this genre-bucking film. Hancock is a self-aware anti-hero and a loose canon. He doesn't battle costumed nemeses and villains in a conventional fashion. He’s a glorified cop with extraordinary power who saves average Joes from criminals, natural disasters, and oncoming trains. He doesn’t kiss ass or do interviews. In short, he's no Superman, and doesn't strive to be.

Hancock’s unorthodox methods cause millions in infrastructural damage to the fragile streets of Los Angeles, and, as a result, he’s laboring under a rash of bad publicity to rival that of Britney Spears. The public and elected officials are sick of Hancock’s antics when he stumbles upon PR exec Ray, played with smarmy sarcasm by Jason Bateman. Ray is so thankful to Hancock for saving his hide from a freak accident that he ignites a campaign to help him recapture public favor. Hancock is shipped off to jail, only to be called upon when needed whilst wearing a fitted rubber suit.

Smith normally collects his paycheck by playing likeable and inoffensive characters, so it’s a treat to see him play against his normally wholesome, family-friendly type for the first half of the film. Hancock cusses heavily, gets sloshed, and apologizes for neither activity. Witness the scene when a bystander at one of his “jobs” claims she can smell liquor on his breath, as if it’s some huge revelation. Hancock fires back, “That’s ‘cuz I’ve been drinking, bitch.” It’s a knee-slapper moment and Smith makes it fly with his dry delivery in light of his “safe” public persona.

When the source of Hancock’s powers and his history are revealed via immortal superheroine-in-disguise Mary (a gorgeous as usual Charlize Theron), the film’s fresh, airy take on the superhero/comic book genre starts to get stale. Hancock is more of a riot when he’s a callous amnesiac. When he starts to probe for answers and the truth, Hancock falters and sputters as the laughs fall by the wayside.

There’s plenty of explosive action in the latter half of the picture, with things getting blown up and bad guys galore running amok. But the sentimental and undeniably sappy exchanges between Smith and Theron are farfetched and ooze with schmaltz. The film ends with a dose of full disclosure, evidently killing any hopes for a sequel while eliminating some of the guesswork and the mystery of our hero's mythology. Ultimately, the first half of Hancock gets an “A.” The latter half gets a “D,” making its average a hard-earned C+.

— Amy Sciarretto
07.07.08