Superhero movie with an identity complex

Rating: 6/10 (6 July 2008)

In the modern era of comic book/superhero adaptation movies, Hancock is an attempt to create an original character and also imbue him with all too human frailties. The resulting film, directed by Peter Berg and starring Will Smith, is entertaining and involving, at times, for it's first two thirds, but fails to wrap things up satisfactorily at the end.
As the film opens, we are introduced to Hancock (Will Smith), a man with superpowers, including the ability to fly, invulnerability and super strength. Hancock also has some significant character flaws: he is an alcoholic, appears unkempt and is generally uninterested in putting on a pleasant front for the public, offending almost everyone he comes in contact with. He also has developed a bit of a problem on the legal front, as most of heroic escapades end up with an associated property damage cost, which has resulted in multiple lawsuits, and the L.A. DA wants him behind bars.
After saving the life of Ray Embry (Jason Bateman), a public relations professional, from a train accident (in which Hancock manages to derail the train and upset the commuters around him) Embry takes Hancock under his wing and makes him a personal project, with the aim of rehabilitating Hancock's tarnished public image. He invites him to his home to meet his family, including wife Mary (Charlize Theron), who gives Hancock some suspicious looks . . .
At the outset, Hancock is an interesting take on the superhero tale, set perhaps in the most real world yet for a film of it's type. Here, as Hancock flies about doing good deeds, he manages to crash into things, tear up buildings, destroy yachts, and, frankly, people don't seem too happy. It is a sad comment on modern society that it is very probable that if a super-hero did exist, this is how he would be greeted by the masses.
The script, credited by Vincent Ngo and Vince Gilligan, features a number of funny segments in the early scenes as Hancock interacts with the public and gives them his devil may care attitude. Hancock is a tortured character, saddled with super-powers and an innate desire to do good, but he also cannot cope with the loneliness of his existence, and so has turned to liquor to try to survive. Will Smith does an exceptional job bringing Hancock to life, making him somewhat likable, simply by being Will Smith, but also not being afraid to show Hancock as the jackass he is at times.
However, at the three quarters mark, Hancock suddenly transforms into an almost completely different film and runs off the rails. It moves into a more "serious" vein and introduces some borderline metaphysical elements, while also delving into Hancock's origin. But, frankly, this material fails to grab you. Hancock was much more interesting when trying to fight through his rehabilitation, driven by Ray, than the left-turn the plot takes the film in towards the end. Hancock seems to want to drive home a powerful, emotional climax, but it manages to do the opposite, robbing the film of it's strength.
Smith, as mentioned before, is the anchor of the film and proves once again what an exceptional actor he is. Hancock largely works because of him, giving Hancock a injured soul, but one that still has good at it's center. Jason Bateman is amusing in the role of Ray, but his family story with Mary isn't anything tremendously special or unique, and Theron doesn't turn in a bad performance, but isn't really given a lot to work with either.
If Hancock had stayed the course of it's original ideas, it may have been a strong contender for a great summer movie, but it's abrupt change of focus brings the film to a less than satisfying conclusion, which is a shame.