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2008 motion-picture show past Peter Berg

Hancock
Hancockposter.jpg

Theatrical release poster
Directed by Peter Berg
Written by
  • Vy Vincent Ngo
  • Vince Gilligan
Produced by
  • Akiva Goldsman
  • James Lassiter
  • Michael Mann
  • Volition Smith
Starring
  • Volition Smith
  • Charlize Theron
  • Jason Bateman
Cinematography Tobias Schliessler
Edited by
  • Colby Parker Jr.
  • Paul Rubell
Music by John Powell

Production
companies
  • Columbia Pictures
  • Relativity Media
  • Overbrook Amusement
  • Weed Road Pictures
  • Forward Pass
  • Bluish Low-cal
Distributed by Sony Pictures Releasing

Release date
  • July 2, 2008 (2008-07-02) (United States)

Running fourth dimension

 92 minutes
Country United States
Language English
Budget $150 million[one]
Box part $629.four million[1]

Hancock is a 2008 American superhero pic directed by Peter Berg and starring Volition Smith, Charlize Theron, and Jason Bateman. Information technology tells the story of a vigilante superhero, John Hancock (Smith) from Los Angeles whose alcoholism and reckless actions routinely cost the urban center millions of dollars. Eventually one person he saves, Ray Embrey (Bateman), makes it his mission to alter Hancock'southward public prototype for the better.

The story was originally written by Vy Vincent Ngo in 1996. It languished in "development hell" for years with diverse directors attached, including Tony Scott, Michael Isle of mann, Jonathan Mostow, and Gabriele Muccino, before being filmed in 2007 in Los Angeles with a production budget of $150 million.

In the Usa, the film was rated PG-13 past the Motion Picture Association of America afterwards changes were made at their request in order to avert an R rating, which information technology had received twice earlier. The motion-picture show was released on July 2, 2008, in the United States by Columbia Pictures. Hancock received mixed reviews from critics who praised its performances, visual effects and premise, but criticized its execution and failure to deliver on its potential, especially during its 2nd half. It grossed $629 million worldwide, becoming the fourth highest-grossing picture show of 2008.

Plot [edit]

John Hancock is an alcoholic who possesses superpowers, including flight, invulnerability, and superhuman force. While performing superhero-similar acts in Los Angeles, he is often ridiculed and hated past the public for his drunken and careless acts, and becomes enraged when called an "asshole". Hancock rescues Ray Embrey, a public relations specialist, from an oncoming train, which he irrationally derails to save Ray. Thankful and seeing him as a career opportunity, Ray offers to assist improve Hancock's public epitome. Hancock meets Ray's family, his son Aaron, who is a fan, and his wife Mary, who takes an immediate dislike to Hancock.

Ray encourages Hancock to issue a public apology, and then go to prison for a time, until Los Angeles needs him properly. Hancock reluctantly agrees, struggling to fit in at prison, and quickly causes problem when he assaults two fellow inmates that refuse to leave him lonely. Hancock is visited by Ray, encouraging him to be patient. He is also afterward visited by Mary and Aaron who bring him homemade spaghetti. The Los Angeles' criminal offense rate rises and Hancock is eventually released to help. He foils a bank robbery orchestrated by Ruby Parker, with Hancock slicing off his hand to foreclose him from activating a detonation switch. He is praised every bit a hero and becomes popular.

Hancock has dinner with Ray and Mary, and reveals that he is amnesiac and an immortal, having woken up in a infirmary fourscore years ago with no retentivity of his identity. He had awakened in a infirmary with doctors telling him that he was in a mugging and was clubbed in the head. Ray tells Hancock that Mary is Aaron's stepmother and that his biological female parent had died in childbirth. Carrying a drunk Ray home, Hancock kisses Mary, only for her to toss him through the wall, revealing that she has superpowers, too. The side by side 24-hour interval, Hancock and Mary speak in private. Mary claims they have lived for iii thousand years, are the last of their kind, and are siblings. Hancock disbelieves her virtually the final claim, and flies away to inform Ray, only for Mary to chase him and incite a trigger-happy boxing across the metropolis. Ray witnesses the fight, after against the duo. Mary admits Hancock is actually her husband from the by, only that she chose to quietly go out him once he had lost his memories of them.

That dark, Hancock stops a liquor store robbery, only to be shot while saving the cashier and is hospitalized. Mary appears, explaining that when the immortals paired upwards, they would slowly lose their powers, becoming mortals. The concluding time Hancock and Mary were together was eighty years before when Hancock was attacked, and his amnesia is a outcome of the attack. Parker, who escaped prison with several other criminals, attacks the hospital to go revenge. Mary is caught in the crossfire and injured. Hancock recovers, killing the criminals, but is further injured. He is saved by Ray, who cuts off Parker'southward other hand with a burn axe earlier killing him as well. Hancock throws himself out of the hospital, trying to increase his altitude from Mary then that she tin recover, before flying off towards the Moon.

A month afterward, Ray and his family unit receive a call from Hancock, (who is at present in New York City) revealing that he has imprinted the Moon's surface with Ray's AllHeart marketing logo. In a mid-credits scene, Hancock confronts a criminal holding a woman at gunpoint and demands that he help him escape from the police, while calling him an asshole in the process, much to Hancock's amused fury.

Cast [edit]

  • Volition Smith as John Hancock, an alcoholic superhero.[2] Hancock is invulnerable, immortal, possesses superhuman strength, reflexes and stamina, highly developed regeneration, and tin can fly at supersonic speeds.[3] He is likewise an amnesiac; his commencement memories are of waking up solitary in a hospital in 1931. During his release, the duty nurse asked him for his "John Hancock", which he adopted as his current alias. Smith described the character, "Hancock is not your boilerplate superhero. Every twenty-four hour period he wakes up mad at the globe. He doesn't call back what happened to him and at that place's no ane to help him discover the answers."[4] To give a realistic appearance of superhero flight, Smith was frequently suspended by wires threescore feet (18 yard) above the ground and propelled at twoscore–50 miles per hour (64–80 km/h).[5]
  • Charlize Theron as Mary Embrey, Ray'southward wife and Hancock'southward ex-married woman who likewise has powers and abilities like him, merely they are both becoming weak as they are close to each other. Theron described Mary, "She makes this conscious decision to alive in suburbia and be this soccer mom to her stepson and be the perfect wife—she lives in this bubble. But when people practice that information technology unremarkably means they are hiding some feature inside themselves that scares them. That is Mary's case. She knows who she is and what she is capable of."[6]
  • Jason Bateman every bit Ray Embrey, a corporate public relations consultant whose life Hancock saves. Bateman said, "My character sees life through rose-colored glasses so he doesn't understand how people tin can't meet the positive side of Hancock. I like being the everyman. I like beingness the tour guide, the i who tethers whatever applesauce might be in a motion picture and helps make that tangible to the audience."[7]
  • Eddie Marsan as Kenneth "Cherry-red" Parker, Jr., a banking concern robber who later becomes Hancock's arch-nemesis. Having previously filmed the low-budget Happy-Go-Lucky, Marsan institute the transition to the big-budget Hancock to be a daze. Marsan said, "I went from being in a car with Emerge Hawkins in Happy-Go-Lucky to blowing upward a banking concern in downtown LA."[8]

Actors Johnny Galecki and Thomas Lennon besides appear in the moving picture. Mike Epps makes an uncredited cameo in the postal service-credits scene. Picture producers Akiva Goldsman and Michael Mann announced as executives listening to Ray'due south lecture.[nine] Television host Nancy Grace also has a cameo appearance.[10] Daeg Faerch appears equally Michel, the young French American neighborhood corking who is thrown by Hancock in the air for repeatedly insulting him. Atticus Shaffer, later known for his role in the sitcom The Center, too makes a brief advent at the commencement of the film.

Production [edit]

Development [edit]

[Vy Vincent Ngo] told me the motivation for [the idea] was that he loved Superman. It inspired him, and he wanted to do a version of Superman that was more real and challenging. He wanted to accept the Superman genre and turn it upside downward.

—Dustin Nguyen on his reclusive friend's spec script[four]

Vy Vincent Ngo wrote the spec script This evening, He Comes in 1996. The draft, almost a troubled 12-twelvemonth-old, and a fallen superhero, was initially picked upward past managing director Tony Scott as a potential projection.[11] Producer Akiva Goldsman came across the script, which he had considered a favorite,[12] and encouraged Richard Saperstein, and so president of development and production at Artisan Entertainment, to acquire it in 2002.[11] Michael Mann was initially attached to direct Tonight, He Comes, merely he instead opted to direct Miami Vice.[12] Eventually, Artisan placed the project in turnaround, and information technology was caused by Goldsman.[13]

Dave Chappelle was at one point considered for the atomic number 82 part.[14]

Vince Gilligan and John Baronial rewrote Ngo'south script,[15] and Jonathan Mostow was attached to direct the film. Under Mostow'south supervision, a ten-page treatment was written to be pitched to Will Smith to portray the lead role in the film. Neither Mostow nor Smith was yet committed to make the project an active priority at the time. Several studios pursued the opportunity to finance the film, and Columbia Pictures succeeded in acquiring the prospect in February 2005. A second typhoon was scripted by Gilligan following the finalization of the deal with Columbia. The film was initially slated for a vacation 2006 release.[thirteen]

In November 2005, Mostow and Smith committed to Tonight, He Comes, with production slated to begin in Los Angeles in summer 2006.[12] Smith's salary in his pay or play contract for the motion picture was $20 million and 20 percent of the film's gross.[xvi] The actor had also gear up a pay or play contract to film I Am Legend under Warner Bros. later completion of This evening, He Comes.[17] Mostow eventually departed from the project due to creative differences.[18] Italian manager Gabriele Muccino filled Mostow'due south vacancy in May 2006. Since Muccino was busy editing The Pursuit of Happyness starring Smith, which Muccino had directed, Smith switched projects to film I Am Legend first for its December 2007 release, and then film Tonight, He Comes afterward.[19] Later in the calendar month, Muccino left the project because of an incompatibility with filming the story. Since Muccino was preparing The Pursuit of Happyness, the studio had delayed the production start for Tonight, He Comes to summer 2007, enabling Warner Bros. to begin production of I Am Legend with Smith.[18]

Filming [edit]

Downward view on a well-trafficked street surrounded by mid-rise buildings. On one side of the street are ceremonial stars embedded in a polished sidewalk.

In October 2006, Peter Berg was attached to direct Tonight, He Comes with product slated to begin in May 2007 in Los Angeles, the story'south setting.[20] Berg had been midway through filming The Kingdom when he heard near the film and called Michael Isle of man, who had become one of its producers.[21] The new manager compared the original script's tone to Leaving Las Vegas (1995), calling it "a scathing grapheme study of this suicidal alcoholic superhero". The director explained the rewrite, "We thought the idea was absurd, merely we did want to lighten information technology up. We all did."[22] Before filming began, Tonight, He Comes was retitled John Hancock,[2] and information technology was eventually shortened to Hancock.[23]

Filming began on Hancock on July 3, 2007, in Los Angeles,[24] having a production budget of $150 meg.[15] Locations such as Hollywood Boulevard were designed to look damaged, having rubble, overturned vehicles, and fires.[25] Smith'south grapheme is also an alcoholic, so for scenes in liquor stores, the art department designed fake labels such as Pap Smear Vodka for the bottles because "brown-bag brands" like Thunderbird and Night Train refused to lend their names.[26] Reshoots were filmed in Times Square in May 2008, the late engagement resulting in the counterfoil of the picture's original world premiere in Australia on June ten, 2008.[four]

Visual furnishings [edit]

Hancock was Peter Berg's offset motion picture with visual furnishings as critical cinematic elements.[21] He considered the computer-generated fight his least favorite role of the film, citing limited control in making the scene successful. According to the director, "Once the fight starts, yous're very limited and yous're at the mercy of your effects guys ... unless they're really technically oriented ... it's definitely the time we have the least amount of control as directors." He and other filmmakers worked to cut down on the fight scene, believing that the film'southward success would come from the character study of Smith's grapheme, John Hancock, similar to Robert Downey, Jr.'s acclaimed portrayal of Tony Stark in the previous May's superhero release, Fe Man.[22]

Visual effects supervisor Carey Villegas described Peter Berg's photography every bit "very high energy", to which the visual effects crew had difficulty adapting. Though the crew had estimated developing 300 visual effects shot at its initial bid, the final tally was approximately 525 shots. An unexpected shot was a scene in which Hancock shoves a prisoner's head up another's anus, and filmmakers initially attempted to film it conventionally, using sleight of paw techniques with cameras. Finding that doing and then did not capture "the vulgarity of the gag", the crew was enlisted to use computer-generated effects. Visual effects were besides applied in conjunction with the pic'southward choreography, incorporating palm trees, twisters, and debris in the reckoner-generated fight scene and combining visual effects with a crane shot to portray Hancock'due south derailment of a freight train.[27]

Release [edit]

Marketing [edit]

The New York Times noted that Hancock 's original story and controversial subject matter present a stark contrast to "a summerful of sequels and animated sure shots" and represent a take chances for "an increasingly corporate entertainment industry". Hancock had been reviewed by the Motility Film Clan of America (MPAA) twice, and both times received an R rating instead of the makers' preferred PG-13 rating to target broader audiences.[15]

The MPAA questioned elements including Smith'south character drinking in front of a vii-year-erstwhile and the character flying under the influence of alcohol. Scenes that were removed to receive a PG-xiii rating from the MPAA included a scene of statutory rape,[xv] two of iii uses of the word "fuck", and intense shots of needles going into arms. The MPAA allowed scenes of Hancock shoving a prisoner's caput up another'due south backside and of Hancock having explosive ejaculation during sexual intercourse, though Berg chose to salve the latter scene for the DVD, explaining, "It just wasn't that funny. Never was. You'd put information technology in forepart of an audition and in that location'd be two, maybe three people laughing. At that place was no way to do that and then regain even a modicum of emotional integrity." The director kept the scene with the prisoners since a Las Vegas examination screening was overwhelmingly successful: "At the finish of the twenty-four hour period, I couldn't ignore an audition when they're laughing that hard."[28] With such elements, studio executives only became comfortable with Hancock when the marketing arroyo focused on action and humor. Berg noted, "The ad entrada for this pic is much friendlier than the pic."[fifteen] The MPAA ultimately gave the film a PG-xiii rating, citing "some intense sequences of sci-fi action and violence and language".[3]

Hancock was originally titled Tonight, He Comes and afterwards changed to John Hancock before settling on its final championship. Prior to the moving picture'due south release, marketing consultants attempted to persuade Sony Pictures to over again change the title Hancock because it was too vague for audiences, suggesting alternatives like Heroes Never Die, Unlikely Hero, and Less Than Hero. Despite the advice, Sony stayed with Hancock and anticipated marketing on the popularity of the movie'due south star, Will Smith.[29]

Theatrical run [edit]

Hancock had its globe premiere as the opener at the 30th Moscow International Film Festival on June 19, 2008.[xxx] To avoid copyright infringement, organizers took "unprecedented" steps to prevent illegal reproduction of the film.[31]

For the film, Sony created a digital camera parcel (DCP) having 4K resolution, containing 4 times more information than the typical DCP that possessed 2K resolution. Projectors for the higher-resolution package have been installed in 200 theaters in the United states with two dozen in evaluation.[32]

Prior to the film's opening five-day weekend in the United States and Canada, predictions for its weekend performance ranged from as low as $70 million to as loftier as $125 million.[33] [34] The film was shown in advance screenings on July 1, 2008 in 3,680 theaters in the United States and Canada, grossing $vi.8 one thousand thousand. The film was widely released on July 2, 2008, expanding to 3,965 theaters.[35] At the conclusion of the 5-mean solar day weekend, Hancock took top placement at the box office in the United States and Canada, grossing an estimated $103.eight meg.[36] The picture show had the third-biggest opening 4th of July weekend after Transformers and Spider-Man 2. Hancock was Will Smith'south 5th movie to open up on a iv July weekend and was his virtually successful opening to appointment. The motion picture was besides Smith's eighth motion picture in a row to take pinnacle placement in the American and Canadian box function and the twelfth picture in Smith's career to pb the box role.[37] [38] Hancock was also Peter Berg's strongest opening of his directing career to appointment.[39] Republic of chad Hartigan, analyst for Exhibitor Relations, said virtually Smith's successful opening, "Audiences don't intendance what critics say; they're going to turn out for anything he does."[40]

Outside the U.s. and Canada, Hancock grossed $78.iii million in its opening weekend, drawing from 5,444 screenings across 50 markets, ranking information technology the third highest international opening of 2008 later on Indiana Jones and the Kingdom of the Crystal Skull and Iron Man.[41] Hancock averaged $14,382 per screen. Information technology placed on height in 47 of the 50 markets in which it opened;[42] its strongest openings were the Great britain with $19.three million, Germany with $12.four million, South korea with $eight.5 million, Australia with $7.three million, and China with $5.5 million. The Chinese opening was the quaternary-biggest opening to engagement for the country. Other international performances included $iii.4 million in Brazil and $3.1 million in Taiwan.[41] In Hong Kong, the film opened in first place with $1.3 million, averaging $37,300 across the 35 venues.[43] The film's overall gross for its opening 5-twenty-four hour period weekend worldwide is $185.half dozen million.[42]

In the following weekend of July 11, 2008, Hancock fell to 2d place in the Usa and Canada behind Hellboy 2: The Golden Ground forces, grossing an estimated $33 1000000, a "modest" 47% driblet in revenue (see 2nd weekend in box role performance).[44] The film's recorded American and Canadian attendance was higher than the Smith feature Men in Black Two in both films' second weekend, but it was significantly less than omnipresence records for Smith's other films, Independence Solar day and Men in Black through the same point.[45] Internationally Hancock expanded to viii,125 screens across 67 markets, ranking first at the box office over again in 30 markets. The pic's superlative opening grosses for the weekend included $11.4 million in Russia (589 screens), $ix.9 million in France (739 screens), $iv.6 million in Mexico (783 screens), $2.two meg in India (429 screens), $one.seven one thousand thousand in the Netherlands (90 screens), $1.iii million in Kingdom of belgium (69 screens), and $1 million in Ukraine (81 screens). In territories playing Hancock for a 2nd weekend, the United kingdom dropped 45% to full $33.4 million to date, Germany 37% to total $24.2 meg to date, South Korea 38% to total $14.vii million to appointment, and Australia 47% to total $xiv.iv million to date.[46] For the 2nd weekend, with the 67 markets, Hancock accumulated an estimated $71.4 million in the international box function, only a $7.two one thousand thousand drop from the previous weekend in territories outside the United States and Canada.[47]

In Hancock'due south tertiary weekend of July 18, the movie took summit placement in the international box office a 3rd time, grossing an estimated $44.eight 1000000 from viii,286 screens across 71 territories. The movie had browbeaten The Dark Knight, which premiered that weekend in twenty international markets. Hancock had tracked 32% internationally ahead of its performance in the United States and Canada. It had opened in iv new markets for the weekend, ranking first in Espana with $viii.half-dozen million from 562 sites and outset in Norway with $ane million from 60 sites. Hancock besides kept top placement in France, estimating $iv.four million from 741 screens for a total of $16.8 million to date.[48]

The moving picture experienced a late resurgence in the international box office on the weekend of September 12, grossing $10.6 1000000 from one,425 screens in 31 markets. Making up near of the amount was $8 1000000 from the film's premiere in Italy on 678 screens.[49] Hancock has grossed $227,946,274 in the Us and Canada and $396,440,472 in other territories for a worldwide total of $624,386,746.[1]

Home media [edit]

Hancock was part of Sony'southward experiment in providing content to consumers who own a BRAVIA television receiver equipped with an Internet connection. The film's release over the Internet took identify later on its theatrical run and earlier its release on DVD. According to Sony executives, distributing Hancock was an opportunity to showcase BRAVIA, though the method has been perceived as an "obvious threat" to cable companies' video on need.[50] The film was available to BRAVIA owners from October 28, 2008 to November 10, 2008.[51]

The pic was released on DVD and Blu-ray Disc on Nov 25, 2008.[52] The unmarried-disc DVD provides a theatrical cut (92 minutes) and an unrated cut (102 minutes) equally well as five featurettes and two documentaries. The double-disc DVD includes these features, a digital re-create of the film, and two additional making-of extras. The Blu-ray Disc includes these, an on-set visual diary, and a picture-in-picture rail.[53] George Lang of The Oklahoman described the unrated cut as "a rare instance when deleted scenes enhance the last product".[54] Christopher Monfette of IGN thought that the Blu-ray Disc was a "beautiful" transfer, the sound was well-balanced, and the featurettes were well-supplied.[55]

In the week ending November thirty, Hancock placed first on three video charts: the Nielsen VideoScan Starting time Alert sales chart, Abode Media Mag's video rental chart, and Nielsen's Blu-ray Disc chart. With the year's Black Friday shopping twenty-four hour period on November 28, Hancock was the top seller in the Blu-ray Disc format.[56] Over five.38 1000000 DVDs were sold for a acquirement of $91,066,638.[57]

Reception [edit]

Critical response [edit]

On Rotten Tomatoes, the film has an blessing rating of 41% based on 227 reviews, with an average score of v.40/ten. The site's critical consensus reads, "Though information technology begins with hope, Hancock suffers from a flimsy narrative and poor execution."[58] At Metacritic, which assigns a weighted boilerplate rating, the picture show has received an average score of 49 out of 100, based on 37 critics, indicating "mixed or average reviews".[59] Audiences polled by CinemaScore gave the film an average form of "B+" on an A+ to F scale.[60]

Todd McCarthy of Variety felt that the film's premise was undermined past the execution. McCarthy believed the concept ensured the film was "agreeable and plausible" for its start one-half, just that the 2d half was full of casuistic story developments and missed opportunities.[61] Stephen Farber of The Hollywood Reporter said that the opening established the premise well, merely that the film came undone when it began to alternate between comedy and tragedy, and introduced a backstory for Hancock that did not brand sense. He said it rewrote its ain internal logic in order to brownnose to its audience.[62] Stephen Hunter in The Washington Post said it had begun with promise, but that the modify in tone partway through was so abrupt that the flick did not recover.[63] Jim Schembri of The Age called the change in management "an absolute killer story twist",[64] and David Denby of The New Yorker said information technology lifted the film to a new level by supplementing the jokes with sexual tension and emotional power.[65]

Jim Schembri wrote that Berg's management helped to sell Hancock'due south "well-drawn" backstory,[64] Todd McCarthy said the gritty visual approach adopted past Berg did not mesh well with the "vulgar goofiness" of certain scenes,[61] and Stephen Farber said that Berg'southward frantic direction compounded the storytelling errors.[62] Stephen Hunter said that Berg had not understood that the shifting tone and plot twists were meant to exist humorous, and that he had played directly what was supposed to be a dark one-act and subversive satire.[63] David Denby said Berg'southward way—especially his apply of close-ups—was intended to showcase "genuine actors at work",[65] while Manohla Dargis of The New York Times insisted Berg had taken Hancock to heart and brought gravity to the flick.[66]

David Denby described Smith's performance as contrasting with his performances in his other films. He said, "For the first fourth dimension in his life, Will Smith doesn't flirt with the audience ... he stays in character every bit a self-hating solitary guy."[65] Stephen Hunter argued that Smith and his co-stars had misunderstood the fabric in the same manner as Berg. He added that the examination of Smith'southward character came across at first equally an exam of "phenomenally gifted" black sporting superstars who were "marginalized", "dehumanized" and exploited every bit a product by gild.[63] Manohla Dargis was struck by Theron's performance, proverb that she enabled Smith to deepen the flick'south emotional complexity.[66] Todd McCarthy said that Smith's "mental attitude-laden quips" helped to carry the pic's superior outset half, and that all iii leads performed capably, merely he said no opportunity was offered for the supporting characters to annals.[61] Roger Ebert writing in the Chicago Sun Times praised the 3 leads, proverb that Smith avoided playing Hancock "as a goofball" and instead portrayed him as a more subtle and serious character.[67] Stephen Farber said that Hancock was a good showcase for the leads, affirming that Smith shone in a motion picture that was simply sporadically worthy of his performance,[62] while Colm Andrew of the Manx Contained said that despite the mix of themes "the laughs are frequent and 18-carat (no forced slapstick), the fight scenes exciting and the emotional stuff quite moving ".[68]

Jim Schembri concluded that the film was "refreshing, savvy, fun and fast". He said information technology managed to mix one-act and activeness successfully, and that the drama came across equally surprisingly genuine.[64] Stephen Farber believed that the extended development of the flick had reduced its quality, but that the visual furnishings were "stellar" and showed wit.[62] McCarthy praised the furnishings, but said the film was "both overwrought and severely undernourished."[61] Roger Ebert observed the film was "a lot of fun",[67] and Manohla Dargis admitted that it was "unexpectedly satisfying". She said that while it faltered and felt rushed towards its end, it had an emotional complexity and "raggedness" that spoke with sincerity about essential human vulnerabilities.[66] Stephen Hunter concluded that Hancock was ultimately "boxy".[63]

Accolades [edit]

Hancock won the award for "Best Summer Activeness/Adventure Movie" at the 2008 Teen Choice Awards.[69] Smith's operation won him the honour for "Favorite Picture show Role player" at the 2009 Kids' Option Awards.[70]

Possible Sequel [edit]

Director Peter Berg said prior to Hancock 's release that if the moving picture pulled in as much business organisation as predicted, a sequel, Hancock 2, would likely follow.[21] Subsequently the motion-picture show's release on DVD and Blu-ray Disc, role player Will Smith said that there was ongoing discussion about a possible sequel, "The ideas aren't ... adult, but we are building out an entire world; I think people are going to be very surprised at the new earth of Hancock."[72] In August 2009, Columbia Pictures hired screenwriters Adam Fierro and Glen Mazzara to write the sequel, and the studio planned to bring back the producing team from the original motion picture.[73] Charlize Theron confirmed that she would reprise her role, and Berg said to expect a tertiary actor to star as another figure with powers like Smith's and Theron'south characters.[74] In January 2012, Berg reaffirmed his plans to make the motion picture.[75] During a 2020 interview, Theron indicated that she remained interested in a Hancock sequel but admitted there has been no progress to motion forward to product.[76]

References [edit]

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Farther reading [edit]

  • Fordham, Joe (October 2008). "Overview: Carey Villegas & Ken Hahn on Hancock". Cinefex (115). ISSN 0198-1056.
  • Holben, Jay (July 2008). "A Not-And so-Super Hero". American Cinematographer. 89 (7). ISSN 0002-7928.

External links [edit]

  • Official website
  • Hancock at IMDb
  • Hancock at Rotten Tomatoes
  • Hancock at Metacritic
  • Hancock at Box Office Mojo

barrettkinatim.blogspot.com

Source: https://en.wikipedia.org/wiki/Hancock_(film)

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