Popcorn and Pen

Will Smith is the undisputed king of the Fourth of July weekend movie blockbuster — and this year isn’t likely to be any different. His previous box office smashes include “Independence Day” in 1996, “Men in Black” in 1997, and “Men in Black II” in 2002 – all of which have grossed more than $50 million in their opening weekend.

But will his latest project, “Hancock,” continue his holiday trend?

Probably – but that all depends on the power of word of mouth.

Although it comes during the summer of comic book films – “Iron Man,” “The Incredible Hulk,” “The Dark Knight” and “Hellboy II” – “Hancock” is not based on a comic book. The film is not what you expect from the previews. It is not a light-hearted comedy about an outcast superhero that has distain for those he saves.

The film isn’t a comedy – you’ve seen a good chunk of the funniest parts already on previews. It isn’t an action-packed thriller either – too much dialogue and self reflection from Hancock slows the pace to a grinding halt after car chases and gun fights. It’s not a pure drama either – that relies more on the connection the main character makes with the audience and the apathy you feel toward them. No, “Hancock” is more of a mutt – a mix of all three genres without one having a greater hold than the others.

Smith plays Hancock, a flawed superhero who has seemingly hit rock bottom – his powers are similar to Superman, sans the kryptonite. He is constantly chugging gallons of cheap bourbon (or any other alcohol he can get his hands on), flying through the air drunk, passing out on random park or bus benches and making rash decisions that cause more damage than good.

When he tries to save a beached whale, he throws it into a sailboat, sinking it. If he prevents a car from being hit by a train, he derails the train and destroys the car. After saving those trapped in an apartment fire, he line cuts children to get ice cream – exposing his bare buttocks in the process after it was charred in the rescue.

Plain and simple, he’s a jerk. Hancock is mean to kids, rude, arrogant and seems uninterested in being a superhero.

Los Angeles has become tiresome of Hancock’s antics, attitude and disregard for the public safety of others while trying to “help.” After saving a Ray (Jason Bateman), a down-and-out public relations executive who is dead set on changing the world and providing care for those less fortunate in third world countries, he takes Hancock under his wing and decides to help the superhero change his image and realize his true potential. (You don’t know it until you see her, but Academy Award-wining Charlize Theron [Best Actress for 2003’s “Monster”] has the small role of Bateman’s wife).

In a very likable role for Bateman, Ray convinces Hancock to turn himself in and rehabilitate himself in jail along with his image. Ray banks on the escalating crime rate and tells Hancock that the community will go to miss him and appreciate his actions more when they realize he’s not around to save them.

Ray attempts to teach Hancock how to change his image and stop crashing into streets and destroying buildings. He designs and creates Hancock a “superhero” costume and urges Hancock to tell the police that they’ve done a good job.

“If they’d done a good job, why should they need me?” Hancock replies.

A new revamped Hancock wins the love of the city back, but in the process of self-growth, Hancock starts to become mortal again. But the audience can’t feel apathy for Hancock because you don’t learn why he is who he is and does what he does until it’s already too late in the film.

While “Hancock” has such a unique story angle, with a great opening, the movie fizzles out and limps to the end as a run-of-the-mill superhero film. Still, it stars Smith, and that should be enough to get fans in the seats (Just look at how well “Wild, Wild West” did in 1999).

“Hancock,” a Sony Pictures release, is Rated PG-13 for some intense sequences of sci-fi action and violence and language. Running time: 92 min.