In recent times, the comic book movie is as easy to find on your screens like snow in South American Alpes. Therefore in this contemporary genre of film, to make a unique and compelling entry, one must bring the genre into fresher places. Last years adaptation of Alan Moore’s cult classic graphic novel Watchmen, is one such example of stretching into new territory for comic books and superheroes in film and the like. So, in 2010, Kick-Ass accomplishes the same thing.
An adaptation of Mark Millers’ 2008 comic, the film follows average student Dave Lizewski, fed up with his invisible existence, decides to purchase a diving suit and fight crime under the alias of Kick-Ass. Only to discover being a superhero isn’t what it is cracked up to be, getting his ass kicked horriblely (as Nic Cage’s character dubbs him, Ass-Kick). But finally, after saving a street thugs life becomes a Myspace and Youtube sensation. It is here does he gain the attention of a real crime fighting duo, Big Daddy (Nicolas Cage) and Hit Girl (Chloe Moretz), as well as the hateful distain of the city crime lord Frank D’Amico (Mark Strong) and his son Chris (Christopher Minze-Plasse), as Kick-Ass is mistakenly targeted for Big Daddy/Hit Girl’s revenge scheme against him.
As you can see, there is alot going on, but under the hand of Guy Ritchie producing veteren and director of 2004s Layer Cake and 2007s Stardust, Matthew Vaughn, the film shines, playing as very much a hilarious satire of previous movies and superhero mythology. You can see the freedom he has in this film, especially made outside of Hollywood, therefore is able to present more explicitly entertaining material.
The script is very sharp, thanks to the good source material and moves with ease onto the screen. It is almost constantly hilarious not only because of the way it is written, but also how it is acted. The pacing is also fantastic, not rushed but maintains a lightening speed. It pays hilarious homage to its superhero counterparts, with the Spiderman-esc narration, the Wolverine metal replacement, Batman and more.
The ensemble cast is quite fantastically picked, aiming mostly for unknowns, focusing on character instead of star power. Nowhere Boy star Aaron Johnson is a likeable lead as Dave/Kick-Ass, you want him to succeed and works well with the rest of his co-stars, especially his vulger friends. He transforms himself into a believable geek and embodies it entirely. He is expecially funny when dealing with his love interest Katie Deauxma, (Lyndsy Fonseca, who is very easy on the eyes), who believes he is gay (hilarious twist on the genre) which does make up for the way their relationship develops too rapidly.
Mark Strong continues his hot streak as the go to criminal, and here he has fun with his typecasted role, bring excellent humour and paranoia to the role. He is imposing yet also an idiot. Christopher Mintz-Plasse adds another shade to his McLovin in Superbad, making for great comedic moments, especially as Red Mist conversing with Kick-Ass, Sure, he is limited in ability, but he works very well, as a spoilt arrogant weedy rich kid.
The heart and soul of the piece come from Big Daddy and Hit Girl. Nicolas Cage takes a supporting role here, not letting his star outshine the film, he shows here a great return to quality, lost in the past five years in “hairpiercy action tripe”. He brings his classic kookiness to Big Daddy, who is very much an alternate universe Batman, and shows he is a pro. In the suit his Adam West impression is tear inducingly hilarious with anything he says. Out of the suit, he is equally funny, with his Cage speaking patterns and lame fatherly charm (They should call him, Ass-Kick, chuckle chuckle chuckle). He also gives the character a great soulfulness, especially as we get to know his backstory and his relationship with Hit Girl, you can see genuine love in his eyes, to which only a great actor like Cage can show so effectively.
Chloe Moretz as Hit Girl is a revelation, you can tell that this role will shoot her to fantastic heights in the industry. Sure, the idea of a 11yr old with the ability to brutally kill EVERYONE is concerning, but its a fucking movie, get over it you silly conservatives, just don’t let your kids watch. Back to Hit Girl, she is foul mouthed, she is badass, she fucks up anyone in her way, and does it with authentic charm, with great chemistry with her castmates. She holds herself amazingly in the action scenes, enough to make your jaw drop. But she is not all killing machine. What is maintained is that she is also still a 11yr old girl, and present this with shades of childlike vunerability, seemingly her only weakness. It’s as effective as Natalie Portman’s debut in Luc Besson’s 1994 film, Leon (The Professional).
The film is very well put together visually and editing-wise. It knows its a comic book, and presented with that colourful exuberance, and the action scenes are creative and thrilling to watch, to satisfy the even the biggest action junkie. The film also is stylistically gory, which is also very satisfying. It is no holds barred. The music score for the most part is an excellent homage to previous superhero entries, playing similar riffs to such other popular franchises as Superman, Batman and Spiderman. It must be said, the appearance of the theme from Danny Boyles’ 28 Days Later is slightly off-putting at first for fans of that film, but it works well for the scene it is used.
In the end, Matthew Vaughn, you rock man! You made a film that not only makes fun of genre, but done in a credible, respectable and non-amateur film school tryhard manner. It gives audiences a uniquely entertaining experience at the movies, one which you’ll want to see again and again. It lives up to its title. It KICKS-FUCKING-ASS!
5/5
