Later that same day, Hancock happens to save the life of Ray Embrey(Jason Bateman), who in return offers Hancock help with his image as a superhero. Ray runs a public rela-tions firm, which is still struggling to find success. It's obvious that rehabilitating the surly, alcoholic, thuggish "superhero" could be what turns his company's fortunes around, but due to a capable script by writers Vincent Ngo(Fearless, Beat the Devil) and Vince Gilligan(Breaking Bad, The Lone Gunmen) and yet another commendable performance by Bateman (Fast Track, Mr. Magorium's Wonder Emporium), we can tell that Ray's genuine first concern is helping Hancock beat his own demons in order to regain the public's trust. And of course, it doesn't hurt that Ray's son Aaron(Jae Head) is Hancock's biggest(and perhaps only) fan.

     Hancock the film is a study in well-balanced duality: On the one hand, it starts out as a highly funny, energetic comedy. However, the problem with the bombardment of the movie's trailers as far as a year ago means that we've already seen almost all the funniest parts of the comedy section of the film(and yes--we actually do get to see Hancock shove one prisoner's head up another's anus!). Conversely though, thanks to some smart direction by Peter Berg(Friday Night Lights, The Kingdom) with some cool stylistic camera framing straight out of the Michael Mann(Heat, Miami Vice) playbook(who also serves as a producer and puts in a quiet cameo), the movie swiftly turns very serious once Hancock begins his actual makeover into the type of hero people can look up to. There's even a clever semi-riff on the Superman theme by composer John Powell(The Bourne Ultimatum, Kung Fu Panda) as Hancock makes his first appearance in "costume".

     The film's solemnity continues when a not-too-subtle connection is made between Hancock and Ray's wife Mary(Charlize Theron). The initial establishment of the attraction between the two is one of the weaker points of the film--although in its defense, the true execution and semi-surprise twist in the relationship makes up for it. For those familiar with DC comics, it's a cross between the tragic history of Hawkman and Hawkwoman, mixed with the relationship between Super-man and his cousin Supergirl. I'm honestly attempting not to give anything away here, but seriously...if you've watched any one of the dozen trailers for the film, you'll guess in two seconds what the relationship is(to some degree). Again though, it's the execution of the relationship's thru-line which is the big payoff. And the final third act denouement is both a heroic and tragic triumph for the film.

     Guided by a director with a fairly firm grasp on the material and a solid cast throughout, Hancock is a genuinely pleasant surprise and continues a pretty solid summer of entertain-ment at the movies. Like the titular hero, it deserves a fighting chance.