As apt and representative a title as any

Rating: 9/10 (28 April 2010)

To paraphrase Zoolander: "Superheroes - they're so hot right now". And perhaps it is its chasing such a tide of success that makes Matthew Vaughn's Kick-Ass - part introspective examination of the 'real world' angle of superheroism and part joyful addition to the genre crammed with enough violence and questionable content to gleefully rattle the bars of political correctness - vaguely less remarkable than had it been released five to ten years prior. This is not to say that the quality of an otherwise outstanding movie is lowered simply due to the year of its release date (to fail to appreciate the comedic marvel that is Vaughn's film would be a spoiled audience indeed) but rather that the popularity of the genre which procured a mass release for such edgy material also somewhat does it a disservice in the sense of setting a standard one inevitably hopes the film will supersede, perhaps unrealistically.
As such, those anticipating Kick-Ass providing thematic ruminations on the pros and cons of comic book culture and the repercussions of heroism in a 'real', internet age to exceed (or even equal) those of other such reflexive texts such as Watchmen may be disappointed. While the film introduces many such queries, they are often left under-explored, leaving the film feeling somewhat thematically weak as well as not quite managing to 'say' anything exceptionally innovative in reference to its genre.
But let's be honest - one would be hard pressed finding the average audience member to lamenting the lack of truly in-depth genre existentialism to the point of ignoring kinetic fight scenes, and such notions as theme, while interesting, feel largely incidental in favour of the film's sense of high-octane fun. Kick-Ass is a film which truly delivers what it promises, from carrying over the glorious carnage and hilarity of its preview material to living up to its title. Nonetheless, as riotously enjoyable as the film is, such a quality does again provide a niggling complaint - the film is awesome, granted, but always just as awesome as one would expect, rather than truly taking audiences off guard or pushing the envelope well past the point of hype. You do get what you pay for, for better or for worse.
Thankfully, what you pay for is almost resoundingly for better. Despite a slow start in which the film riffs a touch too obviously on established superhero films (particularly Sam Raimi's Spider-Man), toeing the line of 'Epic Movie' style winks at times, Vaughn quickly finds his momentum and subsequently ramps up the pace, mayhem and fun to satisfying overdrive. With a fascinating colour aesthetic (contrasting the murky greys and browns of the city with the Crayola Technicolour of the heroes) and delightfully whimsical and effective musical score (often setting brutal violence or slapstick humour to classical music, achieving an innovative stylistic deadpan) and a snappy script keeping the tone lively, Vaughn's film demonstrates plenty to love and appreciate.
But then come the fight scenes. Whirling cascades of intricate choreography, gritty brutality (particularly Kick-Ass' first attempts at combating crime) and blazing gunfire (particularly jarring for a superhero film) intertwining to become some of the most simultaneously cathartic, uncomfortable yet gleefully fun violent interludes in recent cinema, managing to both mock and relish the sadistic fun of movie violence, and ramping up to one of the most ludicrously enjoyable final payoff showdowns in ages. Kick- Ass could almost function as an exploration of the role and purpose of cinematic violence as much as comic book culture, but whether treated as probing or entertaining, Vaughn's hard- hitting tone is exceedingly difficult to shake or to not enjoy.
Particular quality is extracted from the film's magnificent cast, as charismatic rising star Aaron Johnson effortlessly delivers overblown goofiness while remaining intensely likable as the titular Kick-Ass, warmly centring the film whether as exasperated nerd or wide-eyed superhero. Christopher Mintz-Plasse adds a welcome wounded resentment to his customary gawky cockiness as spoiled rich kid superhero Red Mist, and the reliable Mark Strong offers another creation of credibly stern villainy. However, the film's real triumph lies in its unlikely background heroes. Nicholas Cage shreds expectations with sublimely hilarious work as Batman-ripoff heroic patriarch 'Big Daddy', his performance pitched perfectly between manic hysteria and hokey charm (and a voice deliciously pantomiming Adam West's unforgettable fragmented Batman dialect). Equally, Chloe Grace Moretz is a comedic revelation, stealing the show as hard-as-nails vigilante Hit-Girl, and never failing to astound with exactly how far her role will push the boundaries of political correctness. Vaughn also collects a bevy of background players who deliver compelling characterisations for a change, the only exception being Lyndsy Fonseca as Kick-Ass' romantic interest, who, despite a charming performance, feels like an ultimately mishandled and incidental character, decentring the film's emotional arc somewhat.
Wild, wacky and daring, Kick-Ass triumphs through managing to dredge up genuine heart, exhilaration and sentiment in the midst of occasional contrivance or excessive convention. A definitive comment on or twist of the superhero genre? Not quite. An enormous array of pulsating, tremendous fun (ultimately the point of the picture)? A vehement and blood- spattered "HELL YES"!
-8.5/10