In a summer filled with possibly the largest number of superhero movies ever released, Hancock could have easily stood out from the rest. Instead, director Peter Berg has created a movie that soars triumphantly in its first half but then comes crashing down with a shocking and abrupt twist.

Will Smith plays the title character, an unlikely superhero who appears intoxicated while flying, breaks the pavement upon landing and causes millions of dollars in property damage while attempting to save the citizens of Los Angeles.

Though it would appear that he wants to help, Hancock is rude, aloof and (though he is outraged by the word) called an asshole by nearly everyone he meets.

In one of his costlier escapades, the hero saves the life of Ray Embrey (Jason Bateman), a PR consultant who dreams of making a difference in the world. Although Embry’s wife, Mary (Charlize Theron), appears to distrust the hero, he quickly decides to make it his mission to turn the reluctant Hancock into a spandex-wearing, people-sensitive bastion for justice.

The path toward redemption for Smith’s character is equal parts humor and drama. Bateman adds his signature dry comedic style to his character’s unending optimism, which balances Hancock’s deadpan attitude.

I was a bit apprehensive about Smith once again venturing into the science fiction genre after the disappointing I Am Legend last fall, but fortunately, he perfectly captures the antihero Hancock and proves once again that he is an actor suited for any role.

While the hero’s transition was entertaining, it felt rushed. The audience quickly finds out why, with a surprise twist midway that unfortunately made the film fall completely off course.

Not only does a character make a radical and unnecessary change in demeanor and appearance to suit the plot twist, but it felt as if Berg decided to start shooting an entirely different film, ditching the enjoyable satire in favor of a darker drama. The shift comes across as conflicted, fragmentary and awkward.

At least at the start, the film spoofs many classic superhero moments. However, Hancock accomplishes this with a sense of wit and style not seen by any of the recent parody films.

One of the most memorable instances is when Hancock saves Embry, who is trapped in his car in the path of an oncoming train. Regrettably, the hero decides to stand in front of the train instead of simply lifting the car into the air, causing the entire train to derail and leading to one of the film’s more hilarious scenes.

Nonetheless, there are few explanations for many of Hancock’s key elements, and the title character’s origins are revealed only in short bursts toward the second half of the film. Although what is presented is unique, it is never elaborated upon enough.

Hancock finds some redemption in the last action scene, but ultimately the audience is left with a film that, like the hero, is in need of significant rehabilitation.