It’s not, as many have already warned, pleasant watching an eleven year-old girl use that special c-word slur for women (among other terms), or get beaten to a bloody pulp by a much older man. This is true even more when it’s happening in a mediocre movie like Kick Ass.
The premise is frighteningly self-aggrandizing. Loser kid, played by (good looking of course, but disguised as ugly by Harry Potter-esque glasses, poor wardrobe choices, and worse looking friends), puts on a green wet suit, becomes a failed servant of vigilante justice, and gets the wicked hot chick that thinks he’s gay.
Kick Ass, as he calls himself, quickly inspires all sorts of social retards to don their own costumes and fight super villains. These include Big Daddy (Nic Cage), Hit Girl (Chloe Moretz), and Red Mist (Christopher Mintz-Plasse), check out his official IMDb head shot…). Cage spends his time behind his super hero mask channeling an exaggerated William Shatner. That may work for Priceline commercials, but it comes of as him half-assing it here. Moretz has the controversial task of repeating lines that would feel right at home in Pulp Fiction, but nevertheless, feels forced and just plain wrong coming out of someone who hasn’t even hit junior high yet. All the while, she pulls off this acting job more smug than Dakota Fanning after she filmed Hounddog. This is not a compliment. The most talented of all the actors, Mark Strong (who worked with this director in Stardust), is restricted by a flat script, and trying to hide his British accent. Stick with Guy Ritchie, Mr. Strong.
Speaking of Tarantino films, any comparison between Kill Bill and Kick Ass is completely ridiculous. In fact, the only thing the two share in common is a spot here and there of spaghetti western music, and putting a deadly little girl assassin in a catholic school girl dress with knee-high socks. But when it comes down to the quality of the filmmaking, Matthew Vaughn (who directed and co-wrote Kick Ass) will only ever dream of producing something that well done. This, of course, is a shame. Vaughn showed great promise with his Guy Ritchie-style Brit film Layer Cake.
One of the most distracting qualities of the movie, besides Mr. Cage, was the horribly overbearing score. Not to mention, vast portions of it are recycled loops from Danny Boyle’s 28 Days Later, and Sunshine. In fact, Vaughn seemed to borrow quite of a few of scenes from better movies as well. There’s a fine line between an homage, and straight up ripping a better movie, or director off. Vaughn crossed that line. Add all this to a shamelessly open ended conclusion which will undoubtedly lead to sequel taking up more of your local theatres’ screens, Kick Ass comes off as a mildly entertaining, but equally annoying introduction to summer blockbusters.