Peter Parker is beset with troubles in his failing personal life as he battles a brilliant scientist named Doctor Otto Octavius, who becomes Doctor Octopus (aka Doc Ock), after an accident causes him to bond psychically with mechanical tentacles that do his bidding.
The powerful superhero John Hancock has become a joke because of his alcoholism and clumsiness. He has also become the most hated man in Los Angeles. Though he has saved many lives, he also destroyed a lot of property, costing the city millions every time he goes into action. When he saves the life of PR expert Ray Embrey from an oncoming train, the executive is thankful and believes he can restore Hancock's image as a true superhero. He brings the anti-hero home for dinner and introduces him to his son Aaron, a big fan, and to his wife, Mary. But for some mysterious reason Mary doesn't want Hancock anywhere near her or her family. Written by
Rob Marshall, Chicago, IL
The original screenplay was much darker and intended for a more mature audience. Apart from being a low-life, Hancock was supposed to be sexually frustrated as well because he could never have sex with a women without killing her (a scene involving Hancock's explosive orgasm was actually cleared by the MPAA, but removed from the final cut because a test audience didn't find it funny). The tone of the movie was made considerably lighter for a summer release tailored for a wider audience, but the MPAA still gave the film an R rating the first two times they classified it, before edits involving language and violence allowed it to receive a PG-13. See more »
Ray holds a cup from Dunkin' Donuts. This chain does not exist in the Los Angeles area. See more »
All units. All units. Code 3 pursuit of 2-11 white SUV heading east on Alameda service road. Suspects: three Asian males. Request back-up immediately. Be advised. Shots fired. Shots fired.
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A scene after the credits start to roll. See more »
I guess some people just can't take a switch in tone.
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.
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