- Robert Neville is a brilliant scientist, but even he could not contain the terrible virus that was unstoppable, incurable, and man-made. Somehow immune, Neville is now the last human survivor in what is left of New York City and maybe the world. For three years, Neville has faithfully sent out daily radio messages, desperate to find any other survivors who might be out there. But he is not alone.
Academy Award® nominee Will Smith (Best Actor,
The Pursuit of Happyness, 2006) stars in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman,
Juno), his life and reputation rise from the ashes and all seems right again--until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress! ,
Monster) with similar powers to his and the key to his secret past.
Hancock turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman,
Arrested Development), Ray decides to improve Hancock's image--starting by having Hancock surrender himself to the authorities and go to prison for his lawless behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of
Hancock--from there, the movie takes several clever turns that shouldn't be revealed.
Hancock isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree ! that may cause motion sickness), but it is an extremely entert! aining o ne. The script, which holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of comedy, action, and drama. All in all, a smart subversive twist on a genre that all too often takes itself all too seriously. --
Bret Fetzer Stills from Hancock (click for larger image)
Academy Award® nominee Will Sm! ith (Best Actor,
The Pursuit of Happyness, 2006) stars ! in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman,
Juno), his life and reputation rise from the ashes and all seems right again--until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress,
Monster) with similar powers to his and the key to his secret past.
Hancock turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman,
Arrested Development), Ray decides to improve Hancock's image--starting by having Hancock surrender himself to the authorities and go to prison for his lawl! ess behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of
Hancock--from there, the movie takes several clever turns that shouldn't be revealed.
Hancock isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree that may cause motion sickness), but it is an extremely entertaining one. The script, which holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of comedy, action, and drama. All in all, a smart subversive twist on a genre that all too of! ten takes itself all too seriously. --
Bret FetzerAc! ademy Aw ard® nominee Will Smith (Best Actor,
The Pursuit of Happyness, 2006) stars in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman,
Juno), his life and reputation rise from the ashes and all seems right again--until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress,
Monster) with similar powers to his and the key to his secret past.
Hancock turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman,
Arrested Development), Ray decides to improve Hancock's image--st! arting by having Hancock surrender himself to the authorities and go to prison for his lawless behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of
Hancock--from there, the movie takes several clever turns that shouldn't be revealed.
Hancock isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree that may cause motion sickness), but it is an extremely entertaining one. The script, which holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of! comedy, action, and drama. All in all, a smart subversive twi! st on a genre that all too often takes itself all too seriously. --
Bret Fetzer Stills from Hancock (click for larger image)
Academy Award® nominee Will Smith (Best Actor,
The Pursuit of Happyness, 2006) stars in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman,
Juno), his life and reputation rise from the ashes and all seems right again--until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress,
Monster) wi! th similar powers to his and the key to his secret past.
Han! cock turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman,
Arrested Development), Ray decides to improve Hancock's image--starting by having Hancock surrender himself to the authorities and go to prison for his lawless behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of
Hancock--from there, the movie takes several clever turns that shouldn't be revealed.
Hancock isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree that may cause motion sickness), but it is an extremely entertaining one. The script, which! holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of comedy, action, and drama. All in all, a smart subversive twist on a genre that all too often takes itself all too seriously. --
Bret Fetzer Stills from Hancock (click for larger image)
Studio: Sony Pictures Home Ent Release Date: 11/16/2010 Rating: Pg13Studio: Sony Pictures Home Ent Release Date: 10/05/! 2010Robert Neville is a brilliant scientist, but even he could not contain the terrible virus that was unstoppable, incurable, and man-made. Somehow immune, Neville is now the last human survivor in what is left of New York City and maybe the world. For three years, Neville has faithfully sent out daily radio messages, desperate to find any other survivors who might be out there. But he is not alone. Mutant victims of the plague -- The Infected -- lurk in the shadows... watching Neville's every move... waiting for him to make a fatal mistake. Perhaps mankind's last, best hope, Neville is driven by only one remaining mission: to find a way to reverse the effects of the virus using his own immune blood. But he knows he is outnumbered... and quickly running out of time.Will Smith stars in the third adaptation of Richard Matheson’s classic science-fiction novel about a lone human survivor in a post-apocalyptic world dominated by vampires. This new version somewhat alters Math! eson’s central hook, i.e., the startling idea that an ordina! ry man, Robert Neville, spends his days roaming a desolated city and his nights in a house sealed off from longtime neighbors who have become bloodsucking fiends. In the new film, Smith’s Neville is a military scientist charged with finding a cure for a virus that turns people into crazed, hairless, flesh-eating zombies. Failing to complete his work in time--and after enduring a personal tragedy--Neville finds himself alone in Manhattan, his natural immunity to the virus keeping him alive. With an expressive German shepherd his only companion, Neville is a hunter-gatherer in sunlight, hiding from the mutants at night in his Washington Square town house and methodically conducting experiments in his ceaseless quest to conquer the disease.
The film’s first half almost suggests that I Am Legend could be one of the finest movies of 2007. Director Francis Lawrence’s extraordinary, computer-generated images of a decaying New York City reveal weeds growing through the crack! s of familiar streets that are also overrun by deer and prowled by lions. It’s impossible not to be fascinated by such a realistically altered cityscape, reverting to a natural environment, through which Smith moves with a weirdly enviable freedom, offset by his wariness over whatever is lurking in the dark of bank vaults and parking garages. Lawrence and screenwriters Mark Protosevich and Akiva Goldsman wisely build suspense by withholding images of the monsters until a peak scene of horror well into the story. It must be said, however, that the computer-enhanced creatures don’t look half as interesting as they might have had the filmmakers adhered more to Matheson’s vampire-nightmare vision. I Am Legend is ultimately noteworthy for Smith’s remarkable performance as a man so lonely he talks to mannequins in the shops he frequents. The film’s latter half goes too far in portraying Smith’s Neville as a pitiable man with a messianic mission, but this lapse ! into bathos does nothing to take away from the visual and dram! atic acc omplishments of its first hour. --Tom Keogh
