Kick-Ass

Kick-Ass
Directed by: Matthew Vaughn
Rated R
117 Minutes

Review by Giraldo Barraza



Kick-Ass carries itself as a superhero film we’ve not seen before, but the truth is many of the elements of this film are not new. Superheroes in a real-world setting? Watchmen did that last year; as did The Dark Knight the year before. And I also think NBC still has a show about that same subject that no one watches anymore. Instead, Kick-Ass is a crazy hybrid. It’s equally influenced by Marvel comics and by Kill Bill. Nerdy hero who overcomes awkwardness to become a man? Check. Ultra-stylized violence? Check. But how about not taking itself too seriously? A ha! That may well be the refreshing concept here, and that’s why Kick-Ass as a whole is much greater than the sum of its clichéd parts. It aims to be plausible, but it still takes place in a world of comic and comedic fantasy. I mean, this is a realm where Nerdy Guy gets stabbed, hit by a car and doesn’t die. Where Nicholas Cage is cool again. 11 year-old girls move like killer ninjas, and where teens still use MySpace. I’ll admit, this movie isn’t for everyone. Yes, it’s profane and violent, but it’s abrasive because it reflects the new YouTube culture. If nothing goes viral like violence, then Kick-Ass is surely infectious. It has style and an engine that can roar. At times it fires on all cylinders, and the action hits you like a bullet in the chest. If that’s your cup of tea (or can of Red Bull), then strap in and get ready for a hell of a ride.

The premise IS crazy, but follows your typical comic book mythos. Dave (Aaron Johnson) is a nerdy kid who looks like a lost sibling of Tobey Maguire or Jake Gyllenhaal. He’s a wallflower; and if not a loser, at least is generally invisible. The high school he hails from feels like the one from Superbad. I often was hoping Michael Cera or Jonah Hill would turn the corner. Instead, we literally see McLovin. Yes, I know it’s Christopher Mintz-Plasse, but he’s basically playing the same role from Superbad with a touch of James Franco from Spider-Man (by that, I mean he’s wealthy, not handsome).

The movie makes it clear Dave has no motive to become a hero, but he does so anyway. It’s an idea that is suicide-level crazy. He becomes a self-costumed hero, dresses like a can of Sprite, and proceeds to get the tar beat out of him again and again. Underlined by this repetitiveness, one comes to realize that the movie’s biggest weakness is this title character. He seems too much of a parody to take seriously. Presented as a Peter Parker clone with Harry Potter glasses, I could never get behind him during his adventures. He’s too naïve, too nerdy, too inaccessible to the audience that after a while I didn’t really care if he lived, died or got the girl. Instead, I was concerned about the company he eventually keeps. Those characters had spunk, interesting pasts, and most important for a costumed hero… motive.

A dynamic duo of fellow vigilantes enter the picture, but unlike Batman and Robin they take no prisoners. Big Daddy (Nicholas Cage) and Hit-Girl (Chloe Moretz) are avengers cut from a darker cloth, and every time they vanish into the night they leave you wanting more. Hit-Girl in particular steals the show. She’s the nitro in this batmobile of a film. With her bright concord outfit, violet hair and butterfly knives, she’s like Robin mixed with a Strawberry Shortcake character raised watching Tarantino instead of Sesame Street. Armed to the teeth with a vocabulary that would make Scorsese blush, you can really feel the movie kick into a higher gear when she’s on the screen. And when she cuts loose a wave of violence like a killer tornado, the pedal hits the metal and plasters a huge Joker-sized grin your face.

The cornucopia of chaos needs a steady hand to keep it from flying off the rails, but director Matthew Vaughn does a fine job of juggling humor, terror, action, and heart. More importantly, he keeps the screenplay itself in check. A few scenes are just played strictly for shock value, and I got the sense that some elements of the movie were making a conscious attempt to be “edgy,” Those moments draw too much attention to themselves and come close to pulling the audience out of the mirth of mayhem. Luckily, even these moments move at a breakneck pace and quickly get swept away by a tidal wave of adrenaline; keeping the popcorn-level fun at high tide.

Sometimes it’s a fine line between being cool and being stupid, and Kick-Ass does some fine balancing on such a ridiculous narrative. Like a tightrope walker it comes close to losing balance, but luckily the “I don’t give a f#$%” attitude carries the film. That alone is worthy of merit, but the true miracle here is that for all its adult themes and humor, I could not detect an ounce of cynicism in the film. That sincerity keeps the film honest, and more importantly keeps it fun despite the buckets of blood.

The film knows what it’s doing, and turns out to be crazy like a fox for being self-aware. Profane yet humane, Kick-Ass will surely arouse controversy. Despite the blood and bullets and bombastic soundtrack, it is far from reprehensible or repulsive. Like a young kid playing with matches and fireworks, it’s simply pure naughty fun. It may not be entirely kick ass, but it’s pure escapism and entertaining as hell. So is it crazy to be a superhero in real life? Yep. Is it crazy to love this fun but ultra-violent movie? Most likely. But it’s a good crazy. Crazy like the beats of a Gnarls Barkley song. And damn if it ain’t a catchy tune. “Maybe I’m crazy, maybe you’re crazy. Maybe we’re crazy. Probably.” Just go with it. Surrender to the orchestra of mayhem and dance with the devil in the pale moonlight.