Not exact matches
The latter appears to be a duplication of the former with nothing
essentially added to the judgment, although there is the addition of the resurrected body to the soul and the
public character to the previous, private judgment.
The storyline - which follows alcoholic superhero John Hancock (Smith) as he reluctantly allows a struggling
public - relations expert (Jason Bateman's Ray) to mold him into a traditionally heroic figure - has
essentially been crafted to act as an origin story for the central
character, yet screenwriters Vincent Ngo and Vince Gilligan brilliantly ensure that Hancock rarely apes the conventions and tropes that one has come to expect with such a tale (ie one doesn't entirely realize that they're watching an origin story until everything's been said and done).
The virtues
essentially stop with the shot design and the work of Edward Norton (himself being a sort of walking meta joke, as his
character arrives on scene and immediately begins armchair directing and taking control, something for which Norton himself has been infamous on set), and while the other actors are fine, they do not manage to separate themselves as anything other than puppets for Inarritu's agenda, who looms over every frame like some petulant child with a grudge and a budget that allowed him to force his opinions on an unwitting
public.
Yet the original question — whether, not how, to educate for
character — remains
essentially unanswered, a condition that creates doubt and debate among educators and the
public.