6.3 | / 10 |
Users | 3.2 | |
Reviewer | 4.0 | |
Overall | 3.5 |
There are heroes... there are superheroes... and then there's Hancock. With great power comes great responsibility — everyone knows that — everyone, that is, but Hancock. Disgruntled, conflicted, sarcastic, and misunderstood, Hancock's well-intentioned heroics might get the job done and save countless lives, but always seem to leave jaw-dropping damage in their wake. The public has finally had enough — as grateful as they are to have their local hero, the good citizens of Los Angeles are wondering what they did to deserve this guy. Hancock isn't a man who cares what people think — until the day that he saves the life of PR executive Ray Embrey, and the unpopular superhero begins to realize that he may have a vulnerable side after all.
Starring: Will Smith, Charlize Theron, Jason Bateman, Jae Head, Eddie MarsanAction | 100% |
Fantasy | 33% |
Crime | 21% |
Comedy | 10% |
Video codec: HEVC / H.265
Video resolution: 4K (2160p)
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1
English: Dolby Atmos
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
French: DTS-HD Master Audio 5.1
Spanish: DTS-HD Master Audio 5.1
English, English SDH, French, Spanish
Blu-ray Disc
Two-disc set (2 BDs)
UV digital copy
Bonus View (PiP)
BD-Live
4K Ultra HD
Region A, B (C untested)
Movie | 3.5 | |
Video | 4.5 | |
Audio | 5.0 | |
Extras | 2.5 | |
Overall | 4.0 |
The future is here! Sony has released its first wave of UHD Blu-ray (4K/3840x2160p resolution) discs. We've posted a companion article
detailing the UHD upgrade experience here. Watch for more reviews for these Sony UHD Blu-rays in the coming days
and, of course, Blu-ray.com will be covering every UHD release in the future.
A hero rests.
Hancock was filmed on 35mm and, according to IMDB, it was finished at 4K, presumably the source for this 4K UHD
release and, by all comparative indications, the 2008 Blu-ray as well.
Hancock is another stunner right out of the gate from Sony. The HDR (High Dynamic Range) image pushes fairly warm -- flesh tones can
range from rosy to red (and that's not a result of the occasionally errant "red push" outlined in the article above) -- but there's a consistency to the
movie's stylized palette that accentuates every color, whether flashing police sirens, red spaghetti sauce, or small accents on clothes. Detailing is
terrific. The 2160p image brings out an amazing array of fabric details, evident right off the bat on Hancock's ratty, grimy cap. All
sorts
of intimate textures are clearly visible there and elsewhere, whether his shoddy, tattered clothes seen early in the movie or the shiny, form-fitting
black
outfit he wears later on. Skin details are incredible. The transfer reveals fine facial pores with a tangible, intimate depth. Facial stubble and even
very
fine makeup textures are clearly visible. Grain retention is welcome, even, and consistent. It's a little thicker than the very fine grain structure seen
in
Pineapple Express, but there's no mistaking
this
transfer's gorgeous cinematic texturing.
Almost any shot will yield a good comparison between the UHD and the Blu-ray, but a few examples follow. First, look at a shot of Hancock passed
out on a
bench (the first screenshot in this review). There's actually not a serious increase in tangible resolution here. The bench, the cap, the jacket's outer
material and inner lining, the facial stubble, none of it is worlds away more textured than the Blu-ray. Colors are a bit deeper, particularly the face
and the red on the hat, but there's no significant leap in either color or detail. Next, skip ahead to chapter
three, which begins with a several-second-long overhead shot. The color alteration is immediately evident, including the UHD's greater sense of
warmth, but so too is the improved saturation and depth, evident on red rooftops, green grasses, fall leaves, blue swimming pools, even a bright
yellow house that stands apart, seen at the top of the screen right at the end of the shot that looks more orange in UHD. Which is more accurate to
the source is anyone's guess, but there's an increased firmness and boldness to the UHD/HDR presentation to be sure. The 21:27 mark offers a
good, clear
close-up of Will Smith's face. Again, raw detail isn't particularly boosted on the UHD -- pores are well pronounced on both and even a fine vertical
line
on his nose is very clearly delineated -- but his face definitely looks more flush and full with the HDR color scheme. Darker scenes offer refined black
levels and shadow detail; a nighttime, outdoor dinner scene in chapter 10 is a terrific example of how the UHD disc offers a richer black level and
shadow
detail experience.
There's no mistaking that Hancock features a gorgeous transfer. The UHD/HDR presentation isn't so much more finely detailed as it is more
punchy and warm in color and able to more finely delineate blacks and shadow detail. But unlike San Andreas, Hancock offers a carefully tuned refinement of
its color
whereas Warner's
disc simply looks like a change in the contrast setting. As with all of these early UHD reviews, a refinement of the review process will evolve along
the way as
more titles become available, the studios' patterers emerge, and greater understanding of the format, particularly HDR color, comes into focus.
Hancock makes its UHD debut with a brand-new Dolby Atmos soundtrack, replacing the standard release's Dolby TrueHD 5.1
soundtrack.
This review is based on a 7.1.4 setup, which is the "traditional" seven-channel plus subwoofer
configuration with the addition of four "object" or "overhead" speakers to the mix.
There's a new reference Atmos track on the block, and it's Hancock. Sony's remix offers a slick presentation that finds just the right balance
between aggressive use of the overhead speakers and balanced use of the overhead speakers. The movie's opening action sequence is of reference
quality. A hungover Hancock blasts off from a bench with a mighty push, sending a soaring, almost majestic wave of energy into the stage. As he
flies
to a freeway chase, the whoosh of flight practically pulls the listener alongside him. Any time he flies, really, that gust of air that pushes through the
soundstage is amazingly robust and full. Around the same time in that opening action sequence, a large jet plane zooms through with one of the
finest
examples of sound imaging this reviewer has ever heard. Moments later, Hancock lands on top of the bad guys' car with a noticeable thud emanating
from above.
Fast forward to a bank shootout midway through the movie. Gunfire pops with good authority and immersive placement. Shots ring out from all
over
the stage and impact surfaces all around the listener. A cacophony of chaos shreds the listening area and immerses with an added overhead height
presence that gives the scene a wonderfully full and satisfying feel. A storm rips through the stage in chapter 12, again sending a heavy, but refined,
punishing wind into the stage that, mixed with tossing and turning debris, makes for another spectacular example of the Atmos track's ability to fully
immerse the listener into the movie. But the track doesn't just jump on the big effects. In that bank robbery scene, a dialogue exchange between
Hancock
and the criminal offers excellent, room-filling reverberation with a clear, but finely integrated, overhead support. Sprinklers are set off during a
climactic action scene, and listeners can hear and practically feel water dripping down from the ceiling.
There are a couple of moments when the track could probably use a slight boost. Dialogue can be ever so slightly muffled under the most chaotic
conditions, and there are a few points where one could argue for a little more bass, particularly when train cars topple over after Hancock saves Ray
early in the movie. But it's otherwise so rich and dynamic it's hard to numerically knock it, especially considering how well it handles other elements,
like music. Of note in that department is a Rap song that plays when Hancock begins his prison sentence. It's wide, aggressive, and thumps. Music
in general sports wonderful clarity throughout the range and welcoming and very wide stage presence. Dialogue, save for those few muffled lines,
comes through with perfect center focus, articulation, and prioritization. Overall, this is a terrific track from Sony and easily one of the best reference
level Atmos mixes on the market.
While Hancock contains no new "supplements" on the UHD disc, it does offer a slick new menu system (and presumably the early standard for Sony UHD releases) in which different pages are selected by scrolling up and down and side-to-side. Beyond the usual scene selection and language tabs, there's also an option to watch highlight segments entitled Hancock (10:15), Mary (13:02), Ray (8:46), and Action (21:28), all of which offer both 2160p and Dolby Atmos goodness. There's also a Cast & Crew tab that appears to only offer a still image accompanied by character and actor name. All of the previous edition's supplements carry over on the included 1080p Blu-ray disc (click here for more information). A UV digital copy code is also included with purchase. Also note that the UHD disc does not include the film's extended and unrated cut.
Hancock is a fun and creative, and overlooked, Action/Superhero movie that offers a superb performance from Will Smith. Though hardly a classic, it's a good movie and one that will welcome back viewers for multiple watches. Sony's UHD Blu-ray has it all. Dynamic Atmos audio and a superb film-quality presentation make this, perhaps, the ultimate go-to reference disc out of the gate for those wanting the best of both the video and audio worlds, though Pineapple Express still beats this out in terms of pure filmic beauty. Very highly recommended.
Bonus Disc
2008
Unrated Special Edition
2008
Unrated | Blu-ray Essentials
2008
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Extended Cut
2013
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