By Andy Hunsaker
Fancast Movies
Will Smith summer blockbusters are often described as "review-proof." It doesn't matter how good the movie actually is, it's the likable Fresh Prince and lots of fun special effects. Hancock certainly delivers that much, and if that's all you need, have fun, and lament the loss of his trademark "aw HELL naw" line.
The marketing, however, may wind up doing more harm than good. Until a week or so ago, Hancock was being marketed as mostly a comedy, featuring Smith as a drunken Superman screwing up more than he helped. When moviegoers show up and realize that all that schtick is fairly well wrapped up in the first half-hour or so, they might start to wonder about the straight-up and moody superhero movie they will actually be seeing.
The film is actually less of this and more of this, when it's all said and done. It might be a nice surprise for others to have a brooding comic-book movie disguised as a comedy, but for those like me, if you lure me in with jokes and then keep forcing me to take your vague and muddled mythology seriously, I'm going to eventually get annoyed that the jokes aren't coming anymore.
It is interesting, however, to see Smith playing a total jerk at first, which in itself is a departure for the Fresh Prince, who's usually the smiling, energetic good guy type. Hancock is surly because nobody appreciates what he tries to do for people, and later we find out he's also surly because he doesn't really know who he is. He lives in a trailer and isolates himself from everybody, content to drink himself stupid, save for when he lumbers out into Los Angeles to half-ass a superhero move and cause collateral damage out the wazoo. When he happens to save an altruistic PR agent (normally somewhat of an oxymoron) named Ray Embrey (Jason Bateman), Hancock suddenly becomes a reclamation project for him, despite the reservations of his suspicious wife Mary (Charlize Theron).
The reclamation goes relatively smoothly, as Hancock jumps at the chance to change his ways, even if his demeanor is one of disdainful reluctance. He goes to prison voluntarily on Ray's gamble that the cops will pardon him in a matter of days once he's no longer out on the streets scaring bad guys away. The gamble pays off, and the Hancock from then on is considerate and careful to maintain his reborn public image. That is, until the secrets of his past start to unfurl, and the movie becomes a full on sci-fi drama for what feels like a hell of a long time for anyone hoping to laugh soon.
The secrets of the past being revealed might not have been so unimpressive if the film itself didn't take it all that seriously. The night I got home from the screening, I started seeing the more dramatic Hancock ads and thought maybe that was just in time to steer the moviegoing public right, so they don't come out of the movie complaining as much as they did for Wild Wild West. Other than that, though, there is some fun to be had. The visuals are fantastic and Will Smith is just as cool as usual, Bateman's patient straight-man comedy works well in this situation, and Theron does her damnedest to sell the meat and potatoes of the dramatic punch at the end.
Unfortunately, it doesn't completely add up to a true blast that a Will Smith July 4th movie should be. Then again, the Men in Black movies were both underwhelming, Wild Wild West was actively bad despite a great concept, I, Robot was one "hell naw" too many and Independence Day was astoundingly stupid once you got past the stuff blowing up. So Hancock should fit right in with the 'big bank, mediocre movie' philosophy that's made Smith the Hollywood juggernaut he is.
