Review of Matthew Vaughn Superhero Film Kick-Ass (2010)
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KICK-ASS (2010)
BRUTAL PLAY FIGHTING FUN
By Bryn V. Young-Roberts
Kick-Ass (2010) Directed by Matthew Vaughn. USA: 15. Despite lacking any superhuman powers, self-proclaimed ‘normal’ kid Dave Lizewski (Aaron Johnson) ventures into the world of costumed vigilantism with a wet-suit and some batons. Calling himself Kick-Ass he becomes a media icon and draws the unwanted attention of gangster Frank D’Amico (Mark Strong), as well as his masked adversaries Big Daddy (Nicholas Cage) and eleven year old Hit Girl (Chloe Grace Moretz), a murderous father / daughter crime-fighting duo. Briefly teaming up with the latest caped crusader, Red Mist (Christopher Mintz-Plasse), lands him and Big Daddy into torturous trouble that they must overcome in order to topple D’Amico. Primarily the Kick-Ass movie is a reaction to Spiderman (2002), sharing the urban New York setting, character set-up, teenage romance, and cheekily disagreeing with the ‘no power, comes no responsibility’ ethos. Even the training sequence on the rooftop is almost shot-for-shot that of Sam Raimi’s web-slinger film. |
Director Vaughn attempts to satirise the genre with constant references to how it would play out in the real world, the first scene of Lizewski's Kick-Ass trying to fight crime in his costume serving as a brutal ‘Don’t Try This At Home’ as his stabbing leads to a bloody and near-fatal hit and run. In addition to highlighting the ludicrousness of the idea of masked vigilantes with silly names patrolling the streets in colourful spandex (or in this case a hideous green and yellow wet-suit), the film further effectively juxtaposes the world of comic books with our own via its domestic relationships.
While in comic books the idea of a crime fighting family might seem ordinarily noble and heroic, in a more conventional setting the relationship between Big Daddy and Hit Girl would be deemed sick. As she eagerly takes a shot to her bullet-proof vest protected chest as part of her training with daddy, she demonstrates that the superhero mentality transitioned into the real world is mentally unstable, in this case the product of an unbalanced and dogmatic upbringing. Through her character the film highlights, with extremity, part of the psychological make-up of the genre.
Although normally comic books aid the adolescent fantasy of being simultaneously a child and an adult with independent responsibilities, (the crime-fighting feeding a desire for autonomous power while the costume allowing a childlike sense of play), Hit Girl has been nurtured into an independent combative machine at the cost of her childhood innocence, yet retains a stumped growth in maturity that restricts empathy and limits her ability to see shades of grey. Her muttering ‘what a douche’ regarding henchman Cody’s (Dexter Fletcher) pleads for mercy as she and her father murder him in a car crusher both humorously and disturbingly captures the black and white essence of justice in the comic book world, derided by Kick-Ass Lizewski’s disgust at her ease for disseminating extreme and callous violence elsewhere in the film.
While in comic books the idea of a crime fighting family might seem ordinarily noble and heroic, in a more conventional setting the relationship between Big Daddy and Hit Girl would be deemed sick. As she eagerly takes a shot to her bullet-proof vest protected chest as part of her training with daddy, she demonstrates that the superhero mentality transitioned into the real world is mentally unstable, in this case the product of an unbalanced and dogmatic upbringing. Through her character the film highlights, with extremity, part of the psychological make-up of the genre.
Although normally comic books aid the adolescent fantasy of being simultaneously a child and an adult with independent responsibilities, (the crime-fighting feeding a desire for autonomous power while the costume allowing a childlike sense of play), Hit Girl has been nurtured into an independent combative machine at the cost of her childhood innocence, yet retains a stumped growth in maturity that restricts empathy and limits her ability to see shades of grey. Her muttering ‘what a douche’ regarding henchman Cody’s (Dexter Fletcher) pleads for mercy as she and her father murder him in a car crusher both humorously and disturbingly captures the black and white essence of justice in the comic book world, derided by Kick-Ass Lizewski’s disgust at her ease for disseminating extreme and callous violence elsewhere in the film.
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All action scenes are fast, snappy and witty, much in the vein of Kill Bill (2003). Vaughn never shies away from the extreme violence, using it to emphasise the harsh reality that would have to accompany the superhero lifestyle that is most often omitted from superhero fantasy. He also does this while successfully balancing it with intensity and humour in equal measure, ensuring that while contrasts are made, Kick-Ass is still an enjoyable addition to the genre rather than a firm criticism.
A subplot about Kick-Ass Lizewski mistakenly becoming classmate Katie’s (Lyndsy Fonseca) new gay best friend provides some laughs, but is pretty much standard fare that, sadly, has no payoff. Ultimately her character is nothing more than a trophy for him to compete for, and not even one of much worth due to how easily she is ‘attained’, the film whimpering out in its attempt at a romantic victory. Despite losing out on any dramatic value, the romantic narrative does provide a framework for exploring adolescent concern with sexual identity, as Lizewski struggles to make his heterosexual voice heard and is also emasculated by being upstaged by the eleven year old Hit Girl.
Linking superheroes to sexual desires much like Watchmen (2009) did, Kick-Ass concentrates more on the adolescent aspect of sex, demonstrating a healthy teen obsession with breasts and masturbation (poetically, a shot of Lizwski ordering his costume from the internet was originally filmed as part of a masturbation scene that was dropped for time). Fittingly, the character loses interest in costumed adventures as soon as he enters into regular sexual intercourse, making the progression from child at play into man at sex.
Hit Girl’s use of the ‘C’ word provides an uncomfortable and uncalled-for moment that shamelessly panders to the teenage need for ‘cool’ movie moments to rave about on their multiple platform social media (and perhaps, cynically, help promote the film through discussion). Other moments pandering to the teenage audience involves constant pop-culture references that are, thankfully, delivered in believable, humorous and uncontrived ways.
An homage to the superhero genre, the Kick-Ass' music is a love letter to some of the best blockbuster movies ever made, at times reminiscent of John Williams’ Superman (1978) score, while simultaneously surpassing it with a cheeky self-awareness. With miraculous grace it also manages to naturally blend Williams-style music with scores by Ennio Morricone, simple synthesiser ditties and bubble-gum punk, all used to a menacing, boiling kettle effect that anticipates tragedy but retains a sense of fun.
A subplot about Kick-Ass Lizewski mistakenly becoming classmate Katie’s (Lyndsy Fonseca) new gay best friend provides some laughs, but is pretty much standard fare that, sadly, has no payoff. Ultimately her character is nothing more than a trophy for him to compete for, and not even one of much worth due to how easily she is ‘attained’, the film whimpering out in its attempt at a romantic victory. Despite losing out on any dramatic value, the romantic narrative does provide a framework for exploring adolescent concern with sexual identity, as Lizewski struggles to make his heterosexual voice heard and is also emasculated by being upstaged by the eleven year old Hit Girl.
Linking superheroes to sexual desires much like Watchmen (2009) did, Kick-Ass concentrates more on the adolescent aspect of sex, demonstrating a healthy teen obsession with breasts and masturbation (poetically, a shot of Lizwski ordering his costume from the internet was originally filmed as part of a masturbation scene that was dropped for time). Fittingly, the character loses interest in costumed adventures as soon as he enters into regular sexual intercourse, making the progression from child at play into man at sex.
Hit Girl’s use of the ‘C’ word provides an uncomfortable and uncalled-for moment that shamelessly panders to the teenage need for ‘cool’ movie moments to rave about on their multiple platform social media (and perhaps, cynically, help promote the film through discussion). Other moments pandering to the teenage audience involves constant pop-culture references that are, thankfully, delivered in believable, humorous and uncontrived ways.
An homage to the superhero genre, the Kick-Ass' music is a love letter to some of the best blockbuster movies ever made, at times reminiscent of John Williams’ Superman (1978) score, while simultaneously surpassing it with a cheeky self-awareness. With miraculous grace it also manages to naturally blend Williams-style music with scores by Ennio Morricone, simple synthesiser ditties and bubble-gum punk, all used to a menacing, boiling kettle effect that anticipates tragedy but retains a sense of fun.
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Generally, the cast have great chemistry and look more human than usual Hollywood creations. Johnson delivers a believable, amiable lead teenage schlemiel without overselling his innocence and naivety. Mark Strong’s D'Amico villain is down-played in what could have easily twisted into a maniacal, over-the-top cartoon megalomaniac. Mintz-Plasse chews the scenery in his usual Mclovin role, but thankfully his style finds a spiritual home in this film.
Love interest Fonseca provides eye-candy more than acting, but has good chemistry with her suitor that helps her make the most of a very limited role. Stealing the show is Moretz as Hit Girl, unflinchingly delivering adult lines and ass-kicking action like a seasoned veteran. A special mention should also be made of the impressive Dexter Fletcher as henchman Cody, covertly stealing scenes by appearing comically interesting throughout in a role that contains only a handful of unimaginative lines and little plot relevance.
As Big Daddy, Cage makes a welcome return to the more offbeat characters of his earlier work. Although initially this seems fitting for the world of Kick-Ass, possibly due to his star status it fails to gel too well, as he is not the lead while surrounded by a predominantly lesser known cast. His adoption of an Adam West Batman (1966) style voice while in costume appears true to the character, suggesting a man of his generation would consider the camp 60s caped crusader a role model just as Kick-Ass is inspired by newer incarnations, highlighting the ridiculousness of the set-up through humour and indirectly linking the characters as cross-generational mirrors.
A well-paced movie, it delivers exposition effortlessly and seamlessly and even expertly treads a fine line between style and substance right up to the last twenty minutes. Regrettably, the climax ignores all the ridicule and criticism Kick-Ass had to say about the genre and blasts its way into the full, unadulterated superhero world with all guns blazing. It also contains a last-minute subplot about a henchman and a bazooka that is wholly contrived and sells out verisimilitude for a cheap thrill.
Ultimately, Kick-Ass succumbs to the optimism and naivety of the comic book world. While this is a dampener on an otherwise inventive film, the pacing, music, and sheer audacity keep it a pleasurable, if less credible, viewing experience. Despite the second half of the film failing to deliver on the promises of the first half, it remains an energetic, exciting, refreshing and enjoyable action-comedy. Although it light-heartedly ridicules and makes references more than satirises, Kick-Ass is none the less a landmark film for having given its tired and stale genre a much needed… ahem… ass-kicking, that has upped the bar for its successors.
Love interest Fonseca provides eye-candy more than acting, but has good chemistry with her suitor that helps her make the most of a very limited role. Stealing the show is Moretz as Hit Girl, unflinchingly delivering adult lines and ass-kicking action like a seasoned veteran. A special mention should also be made of the impressive Dexter Fletcher as henchman Cody, covertly stealing scenes by appearing comically interesting throughout in a role that contains only a handful of unimaginative lines and little plot relevance.
As Big Daddy, Cage makes a welcome return to the more offbeat characters of his earlier work. Although initially this seems fitting for the world of Kick-Ass, possibly due to his star status it fails to gel too well, as he is not the lead while surrounded by a predominantly lesser known cast. His adoption of an Adam West Batman (1966) style voice while in costume appears true to the character, suggesting a man of his generation would consider the camp 60s caped crusader a role model just as Kick-Ass is inspired by newer incarnations, highlighting the ridiculousness of the set-up through humour and indirectly linking the characters as cross-generational mirrors.
A well-paced movie, it delivers exposition effortlessly and seamlessly and even expertly treads a fine line between style and substance right up to the last twenty minutes. Regrettably, the climax ignores all the ridicule and criticism Kick-Ass had to say about the genre and blasts its way into the full, unadulterated superhero world with all guns blazing. It also contains a last-minute subplot about a henchman and a bazooka that is wholly contrived and sells out verisimilitude for a cheap thrill.
Ultimately, Kick-Ass succumbs to the optimism and naivety of the comic book world. While this is a dampener on an otherwise inventive film, the pacing, music, and sheer audacity keep it a pleasurable, if less credible, viewing experience. Despite the second half of the film failing to deliver on the promises of the first half, it remains an energetic, exciting, refreshing and enjoyable action-comedy. Although it light-heartedly ridicules and makes references more than satirises, Kick-Ass is none the less a landmark film for having given its tired and stale genre a much needed… ahem… ass-kicking, that has upped the bar for its successors.
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