Will Smith returns to the Wild Wild West Coast,
stirring havoc as John Hancock, a flying alcoholic superhero who manages to fly
safely through L.A. smog while saving the city . . . now that's a summer movie. Jason Bateman is pictured here as Ray Embrey and Charlize Theron is
shown as Mary Embrey in Peter Berg's "Hancock", which opened worldwide
today. (Photo: Sony Pictures)
THE POPCORN REEL FILM REVIEW: "Hancock"
L.A.'s Own Dark Knight: The Dawn Of An
Uncouth Havoc Hero
By Omar P.L. Moore/July
2, 2008
Will Smith happily pokes fun at his squeaky-clean Fresh Prince of Bel Air image
as John Hancock in Peter Berg's "Hancock", which opened worldwide
today. Mr. Smith parodies the reverse of his offscreen persona as a
reluctant superhero whose underbelly is more vulnerable than his alcoholic,
foul-mouthed, misanthropic demeanor shows, although the megastar is sometimes
laconic and labored in his portrayal of a homeless man who saves Los Angeles in
his own unique way. Hancock's methods of salvation are not always pretty,
just as the process of winning in sports, so long as he meets his goal.
From the get-go Hancock takes a bite out of crime, vigorously making his
presence felt. Far from everyone's favorite, he's also not the most
environmentally conscious savior -- he makes lots of messes with awkward
landings and flies through the Southern California smog with the greatest
unease.
Mr. Smith is at a point in his meteoric film career where he is more than
comfortable taking chances whacking at his clean-cut everyman image, and
adaptable in the harshest situations his film characters face (notably "Enemy Of
The State", "The Pursuit Of Happyness" and "I Am Legend".) In facing these
tests, the most charismatic and likable actor on the planet has nothing to lose.
To an extent Mr. Smith does well to make anti-hero Hancock an engaging and very
funny figure -- a brother from another planet if you will -- but as he starts
mining the deeper recesses of who Hancock is as a person -- which is where the
film starts to take off and become interesting -- the film's screenwriters (Vy
Vincent Ngo and Vince Galligan) and director Peter Berg throw their lead
character under the proverbial bus, discarding Hancock's quest to seek himself
and take the character in a new direction. The latter part of the second
act and the start of the third is the crucial lynchpin to "Hancock", and for the
film to work, the later part of the second act has to work. Unfortunately,
the acts in sum don't and the film is hoisted on its own petard -- just like a
quartet of Asian gang-bangers are hoisted onto the needle of the famous Capitol
Records building -- buried in an avalanche of noise and visual effects that
camouflage the big fat nothing that the screenplay has to offer once the first
30 to 45 minutes have elapsed.
Furthermore, when the film's payoff comes towards the end it is weak, and you
are left wondering whether "Hancock", formerly named "Tonight He Comes", was
worthwhile at all.
The film's failure to make an impact is eased somewhat by Jason Bateman, who as
public relations guru Ray Embrey is indebted to Hancock after an early event.
Ray introduces Hancock to Ray's wife Mary (Charlize Theron) and son Aaron (Jae
Hand), who is bullied by young Michel (played by Daeg Faerch, whom you may
remember as the young Michael Myers from last summer's re-imagined "Halloween",
which unlike this film stuck to its guns.) Ray is likable, confident,
funny and with the character Mr. Bateman steals the show. Ms. Theron is
more a mystery than she deserves to be, and her Mary vacillates between fired-up
and cautious. The Oscar-winning actress isn't given justice by the
screenwriters either. At the end of the day "Hancock" wastes a golden
opportunity to explore the inner reaches of the title character's soul.
Perhaps that's too much to ask of a summer movie, but if fall season films like
"Casino Royale" (2006) pulled it off where James Bond was concerned, there's no
reason why a deeper exploration of Hancock couldn't have happened. One
wants to shout, "take a chance, for goodness sake!"
Moreover, Mr. Berg -- whose film is shot in garish greens and blues that evoke
some sort of Technicolor experiment gone wrong (cinematographer Tobias A.
Schliesser) and his camera engages in shake, rattle and roll -- doesn't heed the
call to try something different. Mr. Berg's prior directing effort was
last year's "The Kingdom", where Mr. Bateman also made his mark. Mr. Berg,
who also acts -- last year's "Lions For Lambs" and "The Kingdom", "Collateral"
(2004), "Girl 6" (1996) and "The Last Seduction" (1995) among others -- loses
his way with "Hancock" as its rhythm, as well as its aforementioned second and
third acts, sprawls chaotically. At the start of the film "Hancock"
producers Michael Mann (who has directed both Mr. Berg and Mr. Smith in
"Collateral" and "Ali" respectively) and Akiva Goldsman (Oscar-winning writer of
"A Beautiful Mind") make cameos at one of Ray's pitch meetings, but by the end
evocations of another superhero, who will be seen very soon around the world,
cannot help but be noticed. (By the way, Mr. Smith and his Overbrook
producing partner James Lassiter also produced "Hancock".)
"Hancock" skirts the outer reaches of an R-rating at times (the film is a "hard"
PG-13) with strong violence, including several impaling episodes.
Musically it has an infectious bluesy riff established early on and at other
points, a calming antidote to the frenzy and fury of the film's temperature and
tone. Overall though, "Hancock" rings hollow. Audiences will enjoy
the film, but there's a strong sense that they will declare "Hancock" as just an
"alright" experience, leaving the theater wanting more, which they will get if a
sequel is made. Hopefully the audience and filmmakers will heed some good
advice: be careful what you wish for.
"Hancock" is rated PG-13 by the Motion Picture Association of America for
some intense sequences of sci-fi action and violence, and language. The
film's duration is one hour and 38 minutes. "Hancock" opened
today
worldwide. Advanced screenings were held last night in select U.S. cities.
Copyright The Popcorn Reel. PopcornReel.com. 2008. All Rights
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