SCI FI PI

Released July 3
Starring Will Smith, Charlize Theron, Jason Bateman
Director Peter Berg
Rated M



Do not drink whiskey whilst sitting on my toilet!


If you don't have a thorough and familiar knowledge of Greek mythology, you may consider Hancock as nothing more than a wham bam popcorn movie about a superhero who's lost his self-respect. If you do however, then you'll be pleasantly surprised - because underneath the throwaway humour and dry cynicsim, the collateral damage and high octane carnage, there's a profound investigation of the human condition. Although you really do have to know what you're looking for. If you don't never mind, Will Smith and Charlize Theron supply the star power, but Jason Bateman supplies the glue for a film that takes the superhero genre away from brute strength and supervillains and into the mind and heart.



How many times? - this is MY parking spot!


Will Smith is John Hancock, superbum. Living alternately on the streets of Los Angeles and in a trailer that looks like something Martin Riggs would baulk at, he is a superhero with a drinking problem. He is, as everyone keeps reminding him, an 'asshole'. He's not a happy chappy. He takes his self loathing out on the infrastructure of L.A. - if he's apprehending criminals, well, he's also ripping the streets and buildings apart. It makes for entertaining viewing, but also an enormous damages bill.



No, I'm sorry, but for the last time - those shades do not make you look cool. They just don't.


As part of his daily routine of wake up drunk, drink, save people, crush stuff, he saves a PR man Ray Embrey (Jason Bateman) from certain death. Ray's a good guy, trying to push his 'All Heart' branding idea on major corporations, with the proviso that they, for example, give away their tuberculosis medicine for free. He's out to change the world, and since it's L.A., unsuccessfully. It's not surprising then that when he's saved by Hancock, he invites him home to share dinner with the family. Ray has recognised that Hancock is lonely, and needs help - and he's just the man to help out.

With a classic campaign of PR spin, Ray sets out to turn our Zero into a Hero. And the first step - going to jail to pay for the crimes of property destruction. It's a heck of a leap of faith for a man that can literally just leap over the prison fences, who is invulnerable to bullets and can rip solid metal doors off their hinges.



Who said 'bad luck about missing out on the Ali Oscar?' You laughin?' Who laughin?!'


But Ray has a plan - the longer Hancock is in jail, the more crime will rise, and then the people of LA will be clamouring for him to come back - he just has to make sure that the Hancock that does comeback is someone they want.

It's the classic story of redemption - the invulnerable man who can only be defeated by himself.

But then, there's a twist. A heck of a twist. Eagle-eyed viewers may not be shocked, but for the normal viewers, it's a smack in the face, and a real change of pace. If you like that sort of thing - it's a great turn, and this is where the Greek stuff comes in. If you know your gods and what their symbols are and what they represent, there's a frisson of pathos and eternity that runs hidden in this popcorn film - it gives weight to a third act that many may miss. This shift in the film's nature points to several re-writes, where perhaps the original wasn't quite as 'breezy' or 'popcorny' and may have had far more substance than the final result - we'll never know.

However, most viewers will see the obvious fact that the third act is different in tone to the first two - with a shift from light-hearted carnage to heavy-hearted carnage. Some may have difficulties with this tone, but if you're looking for something more than just a souffle, it gives Theron and Smith real room to flex the acting muscle.

The finale of the film may have one or two quibbles given the tone (the violence becomes more personal, the pain becomes more real) and some of the logic, but for the most part, this is a film that conceals its mistakes under a breezy style, great special effects and an excellent trio of leads.



Smith felt elated - it was 'wear your own clothes to work day'.


Smith is Smith, a film star, whether you like him or not - willing to be both the hero of the piece, but also not afraid to be the victim - of course not, it's an actor's dream! Charlize Theron is an actress who trips between the deadpan comedy (really deadpan) that's required and the touching concern of a wife and mother. The real cornerstone however, is Bateman. Those familiar with his work in Arrested Development will recognise the blend of whacked-out comedy and do-gooder that is just the far side of surreal to be successful.

He does well with nicely judged directing from Peter Berg, who lets the performances get emotional without getting too schmalzy, keeping the tone light, and often tinder dry. Although he's not above shameless emotionalism and some overly obvious moments, (resulting in questionable makeup choices) and an ending that may provoke cavities. Not above the odd rip-off of the Superman theme, either!

That said, the film doesn't set itself up as anything but a crowdpleaser. It may have at it's core some pretty deep stuff, but all in all, it wears it within a cloak of throwaway fun. It does live up to the trailer, however, with some joyous carnage, a twist, and a touch of class.