Hancock (PG-13)

Superhero movies are a dime a dozen. Modern reboots on classic icons such as “Batman,” “Superman,” and “Spider-man” – not to mention high budget installments such as Spring 2012’s “The Avengers” exhibit solid evidence that the genre is alive and well. However, one of the common denominators of these films have been a strict attention to realism, and, honestly, a somewhat dark and dismal presentation. For evidence of this, look no farther than “Spider-man 2,” which shows Peter Parker throwing in the towel as the wall crawler or “The Dark Knight Rises,” which shows fan-favorite Bruce Wayne groveling in depression after the murder of his love interest, as well as having his back savagely broken and left to die by psycho-terrorist Bane.

However, sometimes superhero movies come along that break this mold. The 2008 superhero comedy/drama “Hancock” is a fine example of this. Starring Will Smith, Charlize Theron, and Jason Bateman, the movie – while not redefining the genre – offers a genuinely entertaining yarn while successfully managing  the balancing act between seriousness and comedy.

When the movie opens, we are introduced to its reluctant hero, Hancock (Will Smith). We quickly learn he’s not your average superhero. Passed out on a sidewalk bench with a liter of whiskey by his side, Hancock is completely oblivious to a robbery downtown, content to waste the day nursing yet another hangover. Being stirred into action by a young kid appealing to his civic duties, we get an even better image of the kind of hero he is. While drinking, he flies through a giant freeway sign, destroys a large section of a massive bridge, devastates the offices of a tall skyscraper and causes, we learn, almost 8 million dollars in damages. He saves the day, but the public is not the better for it. It’s not long before the news media and the entire City of Los Angeles is clamoring for his arrest.

But all is not lost. After Hancock saves the life of PR marketer Ray Embrey (Jason Bateman) from a would-be train wreck, Embrey decides to make it his life’s mission to change the public’s perception of this misguided hero. Ray has designs for changing the world, however his efforts (including trying to convince a jaded panel of doctor’s to give away a new drug for free) have had less than desirable results. But he’s a dreamer. “We can save the world,” he says. “Someone’s just got to go first.” When he sees Hancock, and sees that he’s struggling, he feels that while he may not be able to save the world, he may just be able to save him.

What makes “Hancock” work as a movie is honestly its characters. Casting two fairly big household names in Theron and Smith could have been risky, as some superhero movies have suffered from such a decision (see Val Kilmer or George Clooney in “Batman Forever” and “Batman and Robin” respectfully). However, Smith is able to completely lose himself in the character, appearing at first as a disgruntled alcoholic, and later actually garnering some real sympathy for his character with his performance.

Certain of his scenes are downright humorous, such as when he destroys one street after another with sloppy superhero landings or when he flings a school bully to the heavens only to catch him right before he lands. However, others, such as when Hancock (who’s immortal), relays a story of how he has been wandering the world alone and without recollection of who he is for the past 80 years are more somber, and show a hero that may not be as collected as we thought at the beginning.

Likewise Theron, used to playing beautiful love interests (“The Devil’s Advocate”) or starring in big budget actioners (“The Italian Job,” “Snow White and the Huntsman”), manages to tone down her character Mary into one that we can relate to. As Ray’s wife, she is caring and loving, but we quickly learn she, too, is hiding a secret. She and Hancock are from the same mold, and as Hancock tries to unravel the secrets of his past, Mary must confront secrets of her past she has kept from Ray, Hancock, and perhaps even herself. One scene, in which she tries to explain her past to Ray is downright hilarious, while another, involving a superhero battle between herself and Hancock is emotive, sad, and cathartic. The tightrope act between these two scenes is not an easy one, and one that could have failed in the hands of lesser actors.

I suppose a criticism of “Hancock” could come in the form of the movie’s extreme suspension of disbelief, but it’s not a criticism you couldn’t cite for “Batman,” “Superman” or any others of this ilk. The movie’s less about this particular villain (though there are several formidable ones) or this particular hero, but more about a catharsis and change that Hancock, Mary, and Ray stumble upon together. It has over-the-top special effects and all the explosions and antics you’d expect from a standard Michael Bay production, but toned down with a sweet story you might find in the drama section of your local video store. “Hancock” has heart, laughs, and delivers in the best possible way – it makes you smile.

A larger than life superhero that everyone loves is often the gold standard. But a friendless, tactless alcoholic with a bag full of problems that just happens to be as strong as Superman might be as close to reality as Hollywood can possibly get. And everyone involved, from Smith, Bateman, and Theron to Director Peter Berg do a successful job transferring this idea from page to screen. It’s not hard to recommend “Hancock.” It might not be the best superhero movie ever made (in light of “The Avengers’” $1.5 billion worldwide box office return) but it might just be the most fun.

– by Mark Ziobro