Hancock

HIM?? MORTAL??


Director Peter Berg delivers a superintact summertime popcornmolester that even has considerable invention factor when it comes to the selected and - logically - presented scheme of the Superhero genre. Will Smith portrays an Immortal being with not much recollection about his origins, so you do see and greet him in an existential crisis. This is a quite deep one at that as well, since this particular issue is immense enough to find and imprison a Superhero, forcing him to helplessly resonate with the unfriendly mood this stale kind of existence keeps him in.

Smith is a pretty solid Immortal, nevertheless: there are not many you see looking this, even ZIS relaxed and intact in his very late 30s/early 40s, compare him to decent supportive actor James Bateman in this movie, for example. Smith is one year older, and MAN, he looks ten years younger. I do not think he had any redundancies like a face lift, or two- or three, either. The dude simply is in proper peace with himself, something that serves soul and body well. Does it serve Hancock well, too? You BET it does!



Wisely enough, Berg utilizes top notch, weighty, stinky Blues tunes to offer thorough glimpses of the consistent emotional desperation Hancock is in: luckily though, the protagonist has a Saviour by the name of Jim Beam, and, as far as my experiences do go, Mr.Beam can be a reliable substitute for proper peace as long as your next wake up period, indeed - you see the Immortal Hancock in the Trade Mark state that evidently has a firm understanding of the latter notion, too. But I guess it's easier to come over a hangover - HAH! - when YOUR ass is Immortal.

The movie is so easily approachable and risk free to digest that it is safe to outline the synopsis while accounting the character of the peak moments. Credit goes for Hancock writers, Vincent Ngo - no typo here - and Vince Gilligan: first and foremost, they selected very wise, playful pace and rhythmization for the output, in turn all this means that Hancock won't molest your attention span with the robust over-two-hours length senselessly ambitious and mis-directed titles like the hideous Iron Man movie sports. Hey, got nothing against Iron Man - got more against Robert Downey Affector, though I will NEVER review THAT movie. I imagine Junior is devastated now. Even: ...



Following the written original, Berg' buildup delivers three major portions: as stated, Hancock is in crisis, the people of Los Angeles are not exactly sure if they need him at all, considering the damage this Superhero tends to cause every time he emerges to punish criminal butts. Little time is about to flow down on- or with the river prior Hancock's encounter with a PR professional - oxymoron?? - whom the protagonist saves from the very throat of a very effective death. The PR professional decides to build Hancock's heavily corrupted image up from scratch in order to make his - Hancock's - Immortality a relative (?) joy to take part in, doing all this as an act of gratitude for saving his - the PR professional's - life. You feel me?



- You FEEL me?
- Yeah, ME feels you!

Giving away consecutive elements of the story would spoil your enjoyment, and here is why: pretty much all of those do contain very nice, intact surprises presented with healthy, fresh pace
and, first and foremost: originality. I tend to think that this particular aspect of Hancock is greatly overlooked, I do refer to the unfolding connection between Will Smith and Charlize Theron, firm sidekick actress of the output. Suffice it to say that you will witness a story of Epic proportions, yet, interestingly enough: a major chunk of the Epic is "but" remembered, though I find this as a beneficial decision, and have zero unsatisfaction about not being able to see the tale, as, since I hear it, nevertheless - I do SEE that, as well.

Yet I tend to think that not everyone will approach the movie in this dimension, and will dismiss essential elements of the output as sentimental time-fillers of the budget saving character. I would urge you though to devote steep attention to the elegant story module the creators invented, as the narrative buildup is truly one of most pleasant lightweight surprises 2008 have delivered. I also do admire the implemented emotion, which is offered very properly and sanely in Hancock: Dinosaur figure? That scene is simply: proper. And it is even more proper than proper, because it recognizes its properness and wisely chooses NOT to overkill it. You see Will Smith reaching out for the figure, but Berg does not show him, holding the Dinosaur with some salivated orchestra in the background. Sometimes fewer is so much more, indeed.



Seems to me that time is on Will Smith's side: now that he is out of the teen pop-idol character, he fortunately choose to rely on the firm skillset he picked up along the way as opposed to commit multiple suicide attempts of the attention seeking character, notifying casual consensus that the World Performed an Illegal Operation and Needs to be Shut Down, or at least Restarted, because - because, it's not like he is 30 now, he turns God Damn 40 soon!

In my opinion, this is how an actress/actor necessarily accounts those very inner and quite important humane qualities, as there are but few things atop the face of this Earth which I find more hilarious than an actress/actor being - uhm - publicly, "spiritually" consumed by age. You see: it's OK to being consumed by time. It's normal, because it's very abnormal. Let me tell you a secret though- everyone does that. But do the audience a favor, and, in case you feel the irresistible urge to get your astral butt consumed, then let it be consumed in silent, calm privacy OR with a psychiatrist, yes? Or BY the psychiatrist, you see how options are always available?

As for the peak moments to attack senses on physically intensive registers: Hancock is an action packed city-rant with crazy-ass fly-arounds and quite thoughtful demonstrations of inconceivable power, even better: the majority of these stunts will resonate within a quite proper humor register, offering you an evident emotional level to approach these amazing accomplishments on. The Whale scene? The Truck scene? Let's face it here, hastily: those are waaaay better on their own as the complete Iron Man or The Incredible Hulk 2008 stunts were, as those absolutely lack any charm beyond Good Old Destruction. Hell, Good Old Destruction is great fun for the whole family, no doubt: but once you can smuggle humor into the mix, it becomes ART, all of a sudden, and THAT, I do believe. Hancock succeeds in this regard masterfully on a zillion occasions, a circumstance we must offer the Fifth Onion for. A very relaxed, fresh, and thoughtful delivery, you and the bucket with the senseless amount of popcorn in it can't possibly go wrong with this here integral, muscular summer effort.



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