Hancock est un super-héros dont le comportement irréfléchi cause régulièrement des millions de dommages. Il change quand la personne qu'il sauve l'aide à améliorer son image publique.Hancock est un super-héros dont le comportement irréfléchi cause régulièrement des millions de dommages. Il change quand la personne qu'il sauve l'aide à améliorer son image publique.Hancock est un super-héros dont le comportement irréfléchi cause régulièrement des millions de dommages. Il change quand la personne qu'il sauve l'aide à améliorer son image publique.
- Prix
- 4 victoires et 14 nominations au total
Avis en vedette
I was lucky enough to go to a pre-screening of Hancock last night and I really enjoyed it. I don't understand all of the criticism this movie is receiving. Everyone take a second and realize this is not a Marvel or DC comic book superhero movie. Now think about that again. It is a different story entirely and has some very unique elements.
Hancock isn't action packed. It doesn't have a Superhero vs. Supervillan plot. I would probably describe it as a character study of the superhero. I think this movie does a better job of addressing some of the issues (and vices) a superhero probably would have if they existed today. The biggest conflict in the movie is within Will Smith's character's attitude, not necessarily good vs. evil.
I think much of the criticism I have read about is motivated by expectations that were not met, which isn't fair at all. If you watch Hancock with only the expectation of being entertained, you will leave happy. Its a good movie, don't jump on the bandwagon of not liking it just because you can. Give it a chance and take it for what it is, a July 4th action/comedy.
Hancock isn't action packed. It doesn't have a Superhero vs. Supervillan plot. I would probably describe it as a character study of the superhero. I think this movie does a better job of addressing some of the issues (and vices) a superhero probably would have if they existed today. The biggest conflict in the movie is within Will Smith's character's attitude, not necessarily good vs. evil.
I think much of the criticism I have read about is motivated by expectations that were not met, which isn't fair at all. If you watch Hancock with only the expectation of being entertained, you will leave happy. Its a good movie, don't jump on the bandwagon of not liking it just because you can. Give it a chance and take it for what it is, a July 4th action/comedy.
A film I remember watching years ago, re-watched 2022, enjoyable. Obviously more than the first time as I've increased my score from 5. There have been so many superhero movies since this, it's come up in my estimations.
Lots of people, including the critics, are ragging on this film. Seriously, what did they expect? It's a Hollywood blockbuster with Wil Smith in. Get over it, turn your brain off, and sit back and enjoy the ride.
For what it was, I thought it pretty good. It was entertaining, took a unique take on the superhero thing, and didn't have an overt number of huge gaping plot holes or completely blithe dialog.
If you're feeling like a Wil Smith movie, go for it. It's not as bad as they say... just don't expect any more than the typical Hollywood affair.
For what it was, I thought it pretty good. It was entertaining, took a unique take on the superhero thing, and didn't have an overt number of huge gaping plot holes or completely blithe dialog.
If you're feeling like a Wil Smith movie, go for it. It's not as bad as they say... just don't expect any more than the typical Hollywood affair.
- Look, I have an idea. Let's make a Superman flick, but instead of everybody liking this Superman-like character, everyone could, like, hate him.
- Hmm.. interesting. But why would they hate him? Is he a villain or something?
- No, no. He is..well.. a jerk. He still catches bad guys and stuff, but he, like, insults people, creates a lot of collateral damage.. you know. A jerk.
- I like it, I like it. He's like a superhero dr. House or something, right?
- Right. Only less witty and more bitter. We can also make him a drunk.
- Well... I dunno if it would fly. Perhaps if we could get Will Smith to do the role. People dig Will Smith.
- I'm with you there. Will Smith, flying around, insulting people.. man, this will be great!
- Right. But we have to go with it somewhere, we can't just let him do superhero stuff while being a jerk, this would get old pretty fast. How about he somehow gets involved with a PR specialist, who will, like, try to improve his public image?
- Great idea! And wait..wait.. what if we get that Michael Bluth guy from Arrested Development to play, umm... Michael Bluth the PR guy?
-Terrific! We're seriously up to something. Let's write!
(scrib scrib scrib... hours pass..)
- Congrats, we have a hit! Let's celebrate!
- I'll get the champagne!
- Umm hold on just a minute...
- What?
- I just realized.. this script is only good for about 45 minutes of the movie! Hour tops!
- Oh no! What can we do? Can we pad it a little?
- No! It's unpaddable! I even added a female lead as Michael Bluth's wife, it still only added about 5 minutes of the movie. Nope, sorry. This is a dud.
- Oh come on...
- Look, look..perhaps we can think of something. Think, think...how do we further the story along, put in, like, some kind of a twist...
- They are all dead or something?
- No, no.. how about..
(scrib scrib.. hours pass)
- Hmmm... I don't think this will work. No chance.
- Why?
- Just look at it! It's stupid, insultingly illogical, and the ending.. it's horrible. Look, I've greenlighted Jaws 4, so I know what I'm talking about.
- But, but.. Will Smith.. Bluth guy.. maybe we can get Charlize for the wife...
- I know! But this stuff... it.. just does not make any sense! The second half is nothing like the first half. It kills the movie!
- Yeah, perhaps we should just rewrite the whole thing..but..know what?
- What?
- Remember "I am legend"? With Will Smith?
- Yeees....
- That one also had a great first half, right?
- Yes. The first half was good.
- And the second half royally sucked, right?
- Riiight...
- And it still was a success, right?
- I see.. what you're saying is that a Will Smith flick can have a great first half, idiotic second half and still come out a winner?
- Exactly!
- Well it IS kind of late and I'm kinda tired.. What gives, let's do it. Although it *does* sound kinda hancock to me. Btw, how do we call this thing?
I've read a lot of the reviews here complaining about the film flagging in its final act. I respectfully disagree.
Hancock is most definitely DIFFERENT in it's last half - it drops off the comedy significantly and introduces some fascinating superhero mythology that is almost like an ancient Greek myth in its context. It also introduces some pretty tense and violent moments that really made me wonder if they should be marketing it as the kid-friendly summer blockbuster that they are. However, both halves have their own merits - the first being the humour, and the second being the (almost tragic) origin mythos. I suspect if you are prepared for the switch in tone, rather than shocked when it arrives, you might enjoy Hancock as much as I did.
Hancock is most definitely DIFFERENT in it's last half - it drops off the comedy significantly and introduces some fascinating superhero mythology that is almost like an ancient Greek myth in its context. It also introduces some pretty tense and violent moments that really made me wonder if they should be marketing it as the kid-friendly summer blockbuster that they are. However, both halves have their own merits - the first being the humour, and the second being the (almost tragic) origin mythos. I suspect if you are prepared for the switch in tone, rather than shocked when it arrives, you might enjoy Hancock as much as I did.
Le saviez-vous
- AnecdotesThe original screenplay was much darker. Apart from being a low-life, Hancock was supposed to be sexually frustrated because he couldn't have sex with a woman without killing her. The MPAA actually cleared a scene involving Hancock's explosive orgasm, but it was removed from the final cut because a test audience didn't find it funny. The tone was lightened considerably for a summer release aimed at a wide audience, but the MPAA gave the film an R twice before language and violence cuts resulted in a PG-13.
- GaffesWhen the people are running away from the tornadoes, suddenly a strange character runs from the left to the right of the screen. The character is twice as tall as everyone else, and looks like a robot or an alien. It may be a street performer, on stilts and in costume.
- Citations
John Hancock: All of you people, blocking the intersection, you're all idiots.
Rail Crossing Crowd #1: You're the one that threw the dude's car at her. And what's with the train?
Rail Crossing Crowd #2: Why didn't you just go straight up in the air with the car? You've obviously injured that poor woman.
Rail Crossing Crowd #3: She's right. She should sue you.
John Hancock: Okay. Well, you should sue McDonald's, 'cause they fucked you up.
- Générique farfeluA scene after the credits start to roll.
- Autres versionsThe Unrated Cut of Hancock features roughly ten minutes of additional material. In this cut,
- After Hancock (Will Smith) apprehends the three thugs in the opening scene, the scene in the bar is longer. In the Theatrical Cut, the scene is made up of Hancock watching the police chief (Gregg Daniel) on TV, then telling an elderly lady (Dorothy Cecchi) at the bar, "I will break my foot off in your ass woman", before going back to watching the TV, with the chief becoming increasingly hysterical about Hancock's actions. In the Unrated Cut, however, there is less footage of the police chief. Instead, we see Hancock doodling, before he is approached by a young woman (Hayley Marie Norman) who tells him she's been looking for him and asks him what it's like when he flies. She then tells him that he saved her cousin. The scene where Hancock speaks to the elderly lady then happens. Hancock then leaves with the young woman and they go to his trailer. She makes small talk with him and climbs on top of him. He then tells her, "When I get to the...moment, when I start climbing the mountain top, you're gonna need to be as far away from that as possible." She doesn't pay much attention to what he's saying, and they start to have sex. When he ejaculates, the force throws her across the trailer and punctures several holes in the ceiling. She is terrified and he is embarrassed. He apologizes and tries to make small talk, telling her he will bring her flying if she wants. She asks to use the bathroom, and after a moment, Hancock realizes she has climbed out the window and fled (04:37).
- When Hancock goes to Ray's (Jason Bateman) house for the second time, he has a verbal altercation with Michel (Daeg Faerch), during which Michel calls him an asshole six times. In the Unrated Cut, their conversation is longer, with Michel telling Hancock that his father thinks he's an asshole as well, and he behaves like an asshole. Hancock tries to explain that that isn't a nice word to use to describe someone, but Michel is indifferent and continues to say the word (00:21).
- The scene of Hancock arriving in jail is longer, with a montage of him having his picture taken and dragging along a line of prisoners to whom he is chained (00:22).
- During the bank robbery, when Hancock approaches the trapped police officer (Liz Wicker), she yells at him, "Get me the f#*k out of here." In the Theatrical Cut, she yells, "Get me the hell out of here" (no time differentiation).
- After Hancock foils the bank robbery, the scene of him emerging from the building is longer, with more shots of the hostages spilling out behind him and a longer shot of Red's (Eddie Marsan) severed hand (00:23).
- The restaurant scene between Hancock, Ray, and Mary (Charlize Theron) is longer. After Hancock speculates about how much of a monster he must have been for no one to claim him at the hospital, the three sit in silence for a moment. Hancock then acknowledges that anyone who did know him 80 years ago would be dead by now anyway. Ray notices that Mary is crying and she laughs and says, "too much wine. I'm a light weight." She and Hancock then look at one another, and she says, "I'm sorry" to which he says, "you didn't do nothing." He then thanks Ray for the dinner and says, "I'd almost call this fun." (00:59).
- Immediately after the restaurant scene, the scene where Hancock carries Ray to bed is longer, and features some additional dialogue, with Ray telling Hancock, "you are like a Dodger dog; it's something that people don't think they're going to like, then they try it and they love it. It hits the spot, it's good for the soul. You're like the world's Dodger dog" (00:12).
- Immediately after the above scene, the scene with Hancock and Mary in the kitchen is longer, opening with a CU of Mary subconsciously playing with her wedding ring. In the Theatrical Cut, the scene opens with a quick shot of Mary washing a glass. The conversation between Hancock and Mary is also longer, with Mary hesitantly telling Hancock, "I don't want you to think that Ray drinks like that, because this is just kind of a celebratory night." Hancock assures her he doesn't think that. There is then some additional awkward silence as Mary cleans the dishes. The moment when Hancock and Mary kiss is also longer. In the Theatrical Cut, Mary notices a bruise on Hancock's hand before telling him, "okay, good night". He then moves to kiss her, but she throws him through the wall. In the Unrated Cut, after she notes the bruise on his hand (which uses an alternate take), he mumbles, "Yeah, I don't know what that is. I've been feeling kinda funny." Mary then says, "you should go." There is a pause, some awkward silence and she says, "It's getting late." There is more awkward silence as they look at one another and then Hancock moves in to kiss her. Unlike in the Theatrical Cut, she kisses him back momentarily, before throwing him through the wall (01:10).
- The following morning, the scene where Mary suggests to Ray that they go away is slightly longer (00:08).
- The scene where Mary visits Hancock at his trailer features an alternative version of her arrival; in the Theatrical Cut, she flies to the trailer and is shown landing outside, whereas in the Unrated Cut, she simple drives there and pulls up outside. This creates significant (but different) continuity errors in both the Theatrical Cut and the Unrated Cut. At the end of the scene, Mary is shown about to get into her car; but in the Theatrical Cut, she didn't have her car when the scene began. The Unrated Cut features a different continuity error a moment later. After Mary and Hancock fly away, an aerial shot shows Hancock's trailer, with no sign of the car anywhere near it.
- In the Theatrical Cut, after she lands, Mary and Hancock simply stare at one another for a moment, and then she goes into the trailer. In the Unrated Cut, they have some dialogue - Mary says, "well, I'm here," to which he says, "yeah." She then looks around and says, "wanna do it?" He says "do what", and she walks up to him and says, "here's how this works; you ask the questions, I answer them honestly, and you leave LA." He says he isn't leaving LA and she goes to get back into the car, but he calls her back and they enter the trailer (00:33).
- After crashing into the side of Ray's building, there are some additional shots of Hancock and Mary on the ground, inter-cut with shots of Ray looking down at them and slowly realizing who it is. There is also some extra dialogue, as Hancock tries to explain to Mary he doesn't remember anything, he pauses and says, "you are the most beautiful thing I've ever seen." After they see Ray watching them, there is more footage of them on the ground, clambering to their feet, and several additional shots of a stunned Ray (00:25).
- The scene where Mary is shot in the hospital uses an alternate take, and there is more blood when she is hit (no time differentiation).
- ConnexionsEdited into Hawaii Five-0: Waiwai (2016)
- Bandes originalesWhammer Jammer
Written by Stephen Bladd, J. Geils (as John Geils Jr.), Seth Justman, Daniel Klein, Magic Dick (as Richard Salwitz), and Peter Wolf
Performed by The J. Geils Band
Courtesy of Atlantic Recording Corp.
By arrangement with Warner Music Group Film & TV Licensing
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langues
- Aussi connu sous le nom de
- John Hancock
- Lieux de tournage
- City Bank Plaza - 505 S Flower St, Los Angeles, Californie, États-Unis(Bank Robbery Scene)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 150 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 227 946 274 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 62 603 879 $ US
- 6 juill. 2008
- Brut – à l'échelle mondiale
- 629 443 428 $ US
- Durée1 heure 32 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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