Will Smith hits Chris Rock onstage during the 94th Academy Awards in Hollywood, Los Angeles, California. File/Reuters

Louis Chilton, The Independent

At some point in the late 1980s, Will Smith decided to become the “biggest movie star in the world”. He had already made inroads as a rapper, and would soon become the face of the hit sitcom The Fresh Prince of Bel-Air. Now, Smith sat down with his manager, James Lassiter, and devised a strategy. The two of them combed through data about the most popular movies ever, and broke box-office success down into a formula, based on common denominators. “It was always special effects,” Smith explained. “There was always creatures, [and] there was always a love story. So we started looking for movies that had special effects, creatures, and a love story.” And they found them: films such as Independence Day, Men in Black, and I, Robot. The plan worked.

Which is to say this: you’d have to be a fool to doubt Will Smith. The 55-year-old Philadelphian is an actor who knows the business of Hollywood inside out — and understands the raw, inimitable power of simply being liked. In 2022, after Smith walked on stage at the Academy Awards and introduced his palm to the side of Chris Rock’s head, people started asking if his career was over. For a hot second, it seemed like it could be. Fast and Loose, a Netflix-produced action movie with Smith attached as the lead, was abandoned. Emancipation, Smith’s once hotly anticipated slavery drama, was widely ignored when it slunk onto Apple TV+ in December that year. But then more time passed. Friday saw the release of his comeback film: “Bad Boys: Ride or Die,” a third sequel to the 1995 buddy cop film, starring Smith and Martin Lawrence. Over the weekend, it made $104.6m (£82.2m) at the global box office — a figure that dramatically surpassed expectations, setting it up to become one of the year’s biggest movies. The film even turns Slapgate into a gag, with Smith’s character weathering a flurry of open-palm smacks from his partner, cajoling him out of a panic attack. Too soon? Hardly. It’s clear that the public have forgiven Smith for his act of uxorious public violence. It’s time Hollywood did, too.

If we’re being honest, the idea that Smith’s problems began and ended with that fateful tumble with Rock was always a framing of convenience. It fits a “fall from grace” narrative: on the night of his greatest triumph — the long-sought-after Oscar win, the apex of a glittering career — Smith threw it all away in an instant. But the reality is somewhat messier. He won the Oscar for his role as Richard Williams, father of tennis legends Venus and Serena, in the sugary, reputation-laundering biopic King Richard. It was a solid performance in a less-than-Oscar-worthy movie, and it came off the back of a long period of worsening creative choices for the erstwhile Bel-Air golden boy.

When was the last great Will Smith film? Ang Lee’s ambitious, effects-heavy “Gemini Man” (2019) was interesting in premise, but deeply flawed. Twisty and featherlight crime caper “Focus” (2015) was somewhere in the nether zone between “great” and just “OK”. “Men in Black III” was similarly fine, but nowhere near the level of the original. The year 2007 may have been the last time Smith felt truly bulletproof as a movie star. “I Am Legend,” a triumphant star vehicle for the actor, was out in cinemas, and Smith narrowly missed out on an Oscar for his role in the hit weepie “The Pursuit of Happyness” — his second nomination, after Ali five years earlier. The fact that Smith has signed on for a forthcoming “I Am Legend” sequel (despite his character’s death at the end of the first one) says a lot.

If the highs of the past decade have been muted, then the lows were despondent: shoddy and problematic supervillain ensemble “Suicide Squad” (2016); Netflix schlockbuster “Bright” (2017), matching Smith with a rebarbative orc rozzer played by Joel Edgerton; Disney’s live-action “Aladdin” (2019), which cursed Smith’s uncanny genie from the get-go by inviting comparisons with Robin Williams’s ineffable original.