Title: Kick-Ass 2
Director: Jeff Wadlow
Released: 2013
Starring: Aaron Taylor-Johnson, Chloe Grace Moretz,
Christopher Mintz-Plasse, Morris Chestnut, John Leguizamo, Jim Carrey, Clark
Duke, Donald Faison, Angustus Prew, Lindy Booth, Olga Kurkulina
Plot: Dave (Taylor-Johnson) having retired from fighting
crime as his superhero alter-ego Kick-Ass, starts training with Mindy (Moretz)
aka Hit-Girl to become a proper hero despite also being forced into retirement
by her guardian Marcus (Chestnut). Elsewhere the former Red Mist Chris D’Amico
(Mintz-Plasse) still wanting revenge on Kick-Ass reinvents himself as
supervillian “The Motherfucker”
Review: Back in 2010 when the original “Kick-Ass” was
unleashed on the unsuspecting movie going public, it finally brought a much
needed fresh spin to the superhero genre which had pretty much grown stale
thanks to a stream of less than stellar adaptations, while Marvel had only
taken the most tentative of steps in establishing their all dominating
cinematic universe. Like the source material though, here was a film which did
for comic book movies what “Scream” did for the horror genre, as it shook
things up while playing off the long established conventions as it applied them
to a real world setting, only without the dark edge of Alan Moore’s legendry
“Watchmen”.
Unsurprisingly “Kick-Ass” was followed by a host of
imitators such as “Defendor” and the wonderfully bizarre “Super” but ultimately
“Kick-Ass” was the only one which left me wanting to see what happened next. Which was especially the case after the first was so much fun, with its intoxicating mix of warped
humour and over the top violence which perfectly captured the tone of the
source material. The fact that it stuck so close to the material really made me
wonder how this sequel would play out more so when the source material for the
sequel really doesn’t pull any punches as Mark Millar’s book not only ramped up
the violence, but also contained numerous controversial scenes including
children being machine gunned and one character being gang raped by The
Motherfucker and his crew.
This controversy was only added to by Jim Carrey suddenly
withdrawing his support for the film in the wake of the Sandy Hook Elementary
School Shooting stating
“I did Kick-Ass a month before Sandy Hook and now in all
good conscience I cannot support that level of violence. My apologies to others
involved with the film. I am not ashamed of it but recent events have caused a
change in my heart.”
Of course this proved to be better promotion for the film
than if he had done a dozen press junkets, especially as the prospect of
controversial violence had fans clamouring to see what the film had in store
for them, especially those who’d read the book whose curiosity was sent into
overdrive as they wondered if director Wadlow was going to truly give us a no
holds barred adaptation. The answer of course is….no.
Unsurprisingly while there are numerous things you can do in
fiction and comic books (just look at the antics of Clive Barker and Alan
Moore for prime examples) these same things just don’t carry across to their film
adaptations and if they do they usually won’t make it past the censors shears.
So it comes as little surprise to see numerous elements being toned down or
played in a more humorous light as especially seen with the gang rape sequence
which has now been replaced with a impotence jab which honestly was the right
choice like so many of the changes between the film and the source material as
here Wadlow trades the darker aspects in favour of moments of slightly warped
humour.
Focusing on two main plot threads it is a delicate balancing
act that Wadlow pulls off here as the film switches between Dave’s return to
costume vigilantism, which now seems him now teaming up with fellow like-minded
have-a-go heroes to form “Justice Forever” lead by the square jawed patriot
Colonel Stars and Stripes (Carrey) while finding a new love interest a group
member Night Bitch (Booth). The other main plot follows Mindy and her attempts
to live a normal life now she has retired her Hit-Girl persona, which soon sees
running afoul of the resident mean girls at her high school. Needless to say it
is only a matter of time before Mindy cracks and finds a way to get her revenge
which is spectacularly graphic to say the least.
Despite having had a run of tough guy roles in the likes of the
frustratingly smug “Savages” and the more recent “Godzilla” reboot, it is nice
to see him being able to tone things down again to play the weedy Dave whose
sole power is pretty much from his ability to take a pounding (thanks to his
damaged nerve endings) and makes his training at the hands of Mindy only all
the more hilarious to watch, especially when she reminds him frequently that he’s
been beaten up by a 15-year old girl while proving that she’s lost none of her
acid tinged wit in the time since we last saw her.
Elsewhere Christopher Mintz-Plasse continue to surprise and
really seems to have a blast playing the off the rails Motherfucker whose sole
ability is being filthy rich and being able to hire his own team of misfit villains
including the towering Mother Russia (Kurkulina) who make up his Toxic
Mega-Cunts a reminder that Miller really didn’t expect this film to be
resonating with any kind of highbrow audience that’s for sure. Mintz-Plasse’s
Motherfucker is the typical idea of what a supervillian should be if you gave a
teenager the free reign that Chris has, caring little for what is politically
correct as he names his henchmen based on race hence we get the likes of “Black
Death” and “Genghis Carnage”. Thankfully John Leguizamo’s Javier is on hand to
balance out Chris’s frenzied nature, as he attempts and fails frequently to
provide the voice of reason to Chris’s OTT plans of domination, which Leguizamo’s
performance only further serves to remind us just how underrated he still is an
actor, much like Carrey who gets to play a more subdue role as Captain Stars
and Stripes, not that you could tell from the trailer which ironically choose
to show the two oddball moments he allows himself.
Perhaps not as sharp as the original film, especially when
it frequently relies on toilet humour than the sarcasm and wit of the original making
Jane Goldman’s absence from scriptwriting duties all the more noticeable. This
aside Wadlow gives us here a fun sequel and a nice setup for the proposed final
part of the trilogy, which due to the film underperforming might be something we
see solely in the comics.
The 1st Kickass movie was one of the more memorable ones, because it was such a deviation from the usual marvel fanfare. The dark humor was a breath of fresh air too. I got worried about the sequel, especially because the changed up the writer/director. My fears came true when I saw it. Although there were some memorable parts, the dark humor seemed a little toned down compared to the first movie. And hit-girl's character seemed much more subdued this time around. I know her caretaker was forcing her to blend in with the other girls at school, but she's way too badass to sellout for the in-crowd at school, she could care less for them. I get that it was portraying a common struggle for many teen girls, trying to be someone they're not to blend in, but hit-girl has a much different upbringing. She's a loner, not someone that needs to fit in. In fact a lot of my problems revolve around how hit girl was portrayed in this film. I was happy when she realized who she was in the end, but I couldn't get onboard with her social struggles in this movie, it wasn't her. I dug mintz-plasse this time as well though. Overall, I felt like the characters were being inhabited by other people, and it didn't seem to recapture the magic I felt in the first one, but Alas, I'll probably have to succumb to my curiousity and see how the 3rd one turns out, but I think I can restrain myself until it's out on blu-ray.
ReplyDeleteHopefully they will make a third and final part which would help Hit-Girl's character journey make all the more sense as she and Dave discover their true calling. The other issue here is the amount of rewriting of the source material, compared to the original which does mean it lost as you highlighted a lot of the charm and style of the characters.
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