Will Smith is the new up to date version of the late in life career of Charleton Heston. No, he’s not some gun wielding NRA apologist who narrates Bible videos in between bouts with aging. As one of Hollywood’s leading ticket/turnstile draws, he’s embraced the science fiction format in a way no actor has since the one and only Chuckster. From Independence Day, Men in Black, I, Robot, I Am Legend, and now his latest, the surreal super hero movie Hancock, no other contemporary star has dabbled in the speculative as often as he. Sure, he moderates such stints with powerful dramas and urbane comedies, but it’s clear that the majority of his bankability comes from action and adventure. Whether this latest film will advance his reputation remains to be seen.
LA is riddled with crime, but there’s a bigger problem within their midst. You’d figure that the city would love its resident comic book style crime fighter. But John Hancock is a troubled man. Driven to drink by demons he cannot control (or in most cases, remember) and horribly unappreciated - thanks in part to his antisocial attitude and tendency to destroy more than he saves - he still tries to bring down the bad guys. One day, he rescues PR man Ray Embrey from an oncoming train, and in an attempt to return the favor, the image maker proposes to overhaul Hancock’s reputation. This makes his young son ecstatic, and his pretty wife Mary uncomfortable. From the moment she sees the angry superhero, she senses a connection. After a stint in jail and a political change of heart, the public may have forgiven Hancock, but his past seems destined to destroy him.
Will Smith, Charlize Theron, Jason Bateman, Eddie Marsan
US theatrical: 2 Jul 2008 (General release)
UK theatrical: 2 Jul 2008 (General release)
Hancock is either a brilliant disaster or an often uneven masterwork. It either represents Will Smith’s decision to break free of his formerly fashionable (and profitable) summer movie mythos, or another chink in a box office armor that has shown some signs of wear as of late. While it cements actor/turned director Peter Berg’s status as a filmmaker to watch (next up for him - another try at bringing Dune to the big screen), it doesn’t do more than his fascinating USA/A-OK actioner of last year, The Kingdom. And with a supporting cast consisting of Jason Bateman and Charlize Theron, it’s hard to question the talent on display. But a quick glance at the film’s history (multiple stints in development Hell over the last few decades) and the numerous names previously attached to it indicates that, considering the chaos it was forged in, we’re lucky that the results are so likeable.
There are actually two movies battling like graphic novel champions to dominate Hancock‘s narrative. One literally wants to wonder about Gods on Earth, how their immortal powers play amongst the more humble elements of humanity. The other feeds off this, turning our surprisingly sour hero into an anger fueled alcoholic who has nothing but contempt for those he’s supposed to serve. Like the shabby My Super Ex-Girlfriend before, Hancock tries to show a jaded populace taking their savior for granted, unable to appreciate the altruistic acts he accomplishes. Instead, there are noisy news reports condemning the destruction that comes with his crime-fighting (isn’t that a given, considering he has to do what people can’t?) and the surliness he projects to cover the pain of being taken for granted.
From an audience perspective, the biggest hurdle to overcome here is the inherent anticipation Smith brings to his projects. From the trailers, the film appears to be a rollicking comedy with some more action-oriented undertones. Our statured celeb will be dishing the dingers and driving home the humor with his natural personality and panache. In truth, the second half spirals into a deep meditation on the notion of fate, and how even beings unbound to this reality can’t avoid its fickle hand. Things turn dark, dour, and very depressive. The moment this happens, at least half the audience will abandon Hancock in a manner similar to how the citizens of LA treat the onscreen character. They won’t buy into the last act dramaturgy, preferring the sequences where Smith curses out old ladies and tosses French-accented bullies up in the air.
Yet it’s this very notion of how to deal with immortal mortality that lifts Hancock above the typical popcorn fare. It suggests something rather intriguing, and director Berg appears comfortable dealing with these more substantive themes. The opening car chase is cute clever, what with the oversized slapstick of our drunken hero using buildings as a backdrop for his unstable gestures. But when he gets down one-on-one, our filmmaker finds engaging ways to deconstruct the genre. Had the film featured more of this, had it stuck to its Tonight He Comes origins (there are too many post-greenlight script doctors to bother mentioning), there’d be something really unique here. By it’s very definition, any attempt to break convention is awkward and disorienting. Unfortunately, Hancock can’t find a way to make said struggles work for itself. Instead, it falls back on old fashioned motion picture majesty - and can’t quite make it all the way.
Smith’s performance is pitched perfectly between art and artifice. He never stretches beyond the boundaries his paycheck demands, but at the same time you can sense he understands where a Hancock success would take him. As part of Berg’s growing company, Jason Bateman does the mild mannered idealist act quite well. He never overplays the obvious one-liners he’s sometimes reduced to relying on. Then there’s Charlize Theron. Given a not so subtle supermodel glow, her role is so ridiculously underwritten that you wonder how the minds behind this movie thought they could get away with it. She’s a last act catalyst, a red herring as real clue creation that definitely fails to live up to the inferences.
In fact, Hancock often feels like the outline for a much larger epic. At 90 minutes, it breezes by on waves of scheduled superficiality, and when it needs to stop and make an impact, editing takes us quickly to the next F/X setpiece. Indeed, the biggest battle within this film is not the one between our hero and the bad guys. Instead, it’s the clash between grand intentions and focus group execution…and it looks like those comment cards almost won out. There will be those who dismiss this movie as nothing more than subpar Smith, a blip on a retail radar that usually brings home the bacon in grand style. But there is something more inventive going on here, a chance at changing the genre dynamic that Tinsel Town just couldn’t handle. The results become an uneven, if ultimately entertaining, experience. Leave it to Smith to succeed despite himself.
// Short Ends and Leader
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