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original title: Kick-Ass
duration: 1h 57min
tags: I can't be invisible. But I can kick your ass.
keywords: comicbook, referencetobatman, femalekiller, narratedbycharacter, hitinthecrotch, lossofvirginity, sexoutside, havingsexwithskirthikedup, generationy, firstpart, cellphonevideo, childdrivesacar, childm
Dave Lizewski is a New York teenage nerd whose interests are comic books and superheroes. Dave decides to become a superhero himself after ordering a costume off the internet. He becomes a youtube sensation after being filmed beating up a group of thugs in
a diner parking lot. This attracts the attention of New York's biggest crime-boss, Frank D'aminco. In New York, teenager Dave Lizewski is a loser at high-school, a fan of comic books and ignored at school. He spends most of his time with his friends Marty
and Todd who are also comic book fans. Dave has a crush on Katie Deauxma but she in turn does not even notice him. One day, Dave decides to make a difference to his life by becoming a masked superhero named Kick-Ass. In his first superhero role he attempts
to prevent a car theft by two punks, but he is inadvertently stabbed by one of them and hit by a car later. Dave is taken to hospital where his bones are fixed with metal. When he recovers, Katie begins to notices him. That night, Dave helps a man being hunted
down by three guys in front of a cafeteria, the teenagers record the fight with their cell phone cameras. Then they put the footage in Internet and Kick-Ass immediately becomes famous. Meanwhile the powerful gangster Frank D'Amico believes that Kick-Ass is
responsible for actions against his gang and plots a scheme to destroy him. I saw half of the film on HBO several months ago in the hotel room and it became another unfinished business which had been gnawing at me until yesterday I eventually watched it from
A to Z, and my response is that it's really a kick-ass to all other major film studio comic superhero franchises!
I don't intend to put a stance to appreciate this film just to feign that my heart is still as young as a schoolboy. I love this film from the bottom of my heart and I emphatically believe director Matthew Vaugh has done a stupendous job which almost alter the entire formula of the corny genre and what's more worth a round of standing ovation is that the film is killingly entertaining as well!
Hit-girl is predestined to become a cult idol along with the film itself (and its box office fiasco is a bonus), the controversy she created has becoming a sensational impressiveness which stuns the youngster generation and some maturer age group like mine. A 12 year old slaughterer with an innocent loli's face and mind, which may not be original but definitive provocative, and the gratifying yet unsettling part is Chloë's steadfast-cum-innocuous performance, killing only could be such fun in a morally nontoxic way which a film is able to manifest and I can sense the surreal zest pervading in the air!
Kick-ass (an unostentatious Aaron Johnson) by comparison, is a more empathizing character, which is also dealt with some realistic impetus to allow viewers to judge it by a more rational afterthought, a true hero never need the shield of "super" power, all one needs is training and proper equipment, a pragmatic truth (it's more convenient if you are as filthy rich as Iron Man or Batman).
The film and the directing definitely crack into my top 10 list of the year and Chloë is among my top 3 supporting actress in 2010 as well. Also I feel a bit belated compassion that Matthew Vaugh's forte didn't been fully brought into play in the X-MEN: FIRST CLASS this year as sadly few could substantiate his true color under the mainstream Hollywood sway, especially for those newly-recruited. Matthew Vaughn found his style with this film, a style that would later become a trademark for his most successful franchise 'Kingsman'. Excessively stylised action that excel in showcasing gratuitous violence with comedic flair. All blending into a light hearted story in the name of entertainment. Yet, Kick-Ass is slightly more intelligent in its execution than the average action flick. A high schooler is tired of being invisible, so he creates a superhero alter ego in a bid to fight crime and become noticeable. Utilising a standard formula for any superhero origin story and flipping it upside down by becoming a self-referential comedy. By allowing its own awareness to seep through the plot, it suddenly becomes hilarious and that is exactly what this film needed in order to differentiate itself from the clustered genre it resides in. Then applying Vaughn's glossy use of blood and guts spewing from every direction, the film suddenly becomes intelligent and entertaining simultaneously. It's just ludicrous fun. During its deconstruction of the genre, there are times that the plot succumbs to the clichés it sets to avoid and thus becomes predictable for the most part. Fortunately, an interesting cast list keeps the narrative flowing. Moretz is the foul-mouthed "Hit Girl", the always eccentric Cage is "Big Daddy" and Johnson the optimistic protagonist "Kick-Ass". Cage and Strong gave the best performances with natural comedic execution to their dialogue, particularly the former who forcefully communicates like a broken robot. Johnson played the alter ego well, but unfortunately didn't really suit the nerdy character of Dave. The action, for the most part, was well edited although certain scenes felt slightly haphazard, especially the final shootout which was crazily mental. Overall, I admire the intentions of Kick-Ass. It's light, fun and entertainingly humorous. A more exciting plot would've elevated the originality, but Kick-Ass definitely kicks ass. Kick-Ass is a compendium of all sleazy things, and it sings like a siren to our inner Tarantinos. Kick-Ass tells the story of Dave "Kick-Ass" Lizewski (Aaron Taylor-Johnson), a boy obsessed with the idea of a super-hero. He lives in a world where the only heroes that exist dwell within the pages of comic books ...until Dave decides to change that. Kick-Ass is based on a comic book series of the same name by Mark Millar and John Romita, Jr. The comic series was adapted for the movie by English screenwriter Jane Goldman and British film producer Matthew Vaughn, who also directed the movie. It was followed by Kick-Ass 2 (2013) (2013). During the rescue scene, Big Daddy shouts, "Take cover, child. Now switch to kryptonite. Now go to Robin's Revenge." This is a reference to the Batman comics. In one issue, Batman's friend Robin fights a blind villain whose sense of hearing is so strong that he can fight without a problem. Robin uses a whistle to trick the villain so that he can sneak up behind him. "The Armenian Superhero" by Henry Jackman: Opening sequence
"Stand Up" by The Prodigy: Opening Credits
"A Punch In The Chest" by Marius Vries: Big Daddy Shoots Hit Girl
"Omen" by The Prodigy: Kick-Ass fights off the three gangsters while being videotaped outside the coffee store
"Famous" by Marius Vries: Kick-Ass becomes an internet phenomenon
"Walk To Rasul's" by Danny Elfman: Kick-Ass goes to talk to Rasul
"Bongo Song" by Zongamin: Song playing in Rasul's apartment
"Banana Splits" by The Dickies: Hit Girl slaughters Rasul and his friends
"Hit Girl and Big Daddy" by Marius Vries: Kick-Ass is introduced to Hit Girl and Big Daddy
"This Town Ain't Big Enough for Both of Us" by Sparks: Plays after Red Mist is introduced and Kick-Ass tries on his cape before going to meet him
"MistMobile" by Henry Jackman: Red Mist shows Kick-Ass his car
"Crazy" by Gnarls Barkley: Red Mist is driving Kick-Ass to his fathers warehouse
"Big Daddy Kills" by John Murphy: Frank and Red Mist watch the tape and sees Big Daddy kills off the goons in the warehouse
"Nightvision" by John Murphy: Lights out. First Person Shooter Sequence
"The Surface of the Sun (Sunshine Soundtrack)" by John Murphy: Big Daddy is lit on fire
"Big Daddy Dies" by Henry Jackman: Big Daddy dies from his wounds
"Choose Your Weapon" by Ilan Eshkeri: Hit Girl tells Kick-Ass to pick a weapon among Big Daddys weapons
"Per Qualche Dollaro in Piu" by Ennio Morricone: Hit Girls breaks in to Frank's house
"The Corridor" by John Murphy / Bad Reputation - The Hit Girls: Hit Girl attacks, hallway shootout
"Battle Hymn of the Republic (Extract from An American Trilogy)" by Elvis Presley: Kick-Ass saves Hit Girl and kills Frank's men
"The Fight" by Marius Vries: The final battle
"Flying Home" by John Murphy: Hit Girl and Kick-Ass flies home
"True Identity" by Henry Jackman: Hit Girl reveals her name to Kick-Ass
"Make Me Wanna Die" by The Pretty Reckless: Red Mist turns around and and says: Wait until they get a load of me! and end credits starts
Kick-Ass - MIKA: Second song playing in the end credits
(Source: what-song.) Possibly. They're both gangster's called Cody who drive yellow Range Rovers. They may well be the same character despite him having an American accent in Kick Ass due to his character in Layer Cake being that of a gangster who impersonates different characters... Ergo an American gangster! While the overall story and outline for the movie is the same as the graphic novel, quite a few major changes have been made to either help character motivations or to simply make a slightly happier outcome. A few of the heavy heavy major changes are below:
(1) In the graphic novel, it is not Katie who asks Kick-Ass for help taking care of the low-life drug-dealers at the apartment where Kick-Ass first meets Hit-Girl. It is the ex-girlfriend of the head gang member at the apartment who asks him for the help because her ex-boyfriend keeps harassing her. The said ex-girlfriend of the gang member appears at the end of the graphic novel performing sex acts with Dave's father. This change was probably made in the movie as to a.) keep the plot of the movie more simple by not throwing too many characters and subplots and b.) to get Katie a little bit involved in the conflicts of Kick-Ass.
(2) In the graphic novel, you don't know Red Mist is an insider double-crossing the protagonists until they all meet at a warehouse towards the end, for which, as in the movie, it is revealed that he is the son of John Genovese (the name of the kingpin in the graphic novel, as opposed to Frank D'Amico). In the movie, you know from the get-go that Red Mist is D'Amico's son and is planning to double-cross the protagonists (namely Big Daddy).
(3) Probably the biggest character motivation change is the origin of Big Daddy. While in the movie, Big Daddy really is an ex-cop out for revenge against D'Amico, in the graphic novel, it is revealed in the torture scene that he was only pretending to be an ex-cop turned vigilante, and that in reality, he was an accountant, and that the reason for being a vigilante superhero was, just like Dave, he was a huge superhero comic book fanatic, and that he funded everything for him and Mindy (Hit-Girl, his daughter) by selling a bunch of his old vintage comics he kept locked in a chest from Mindy so Mindy wouldn't know that her father wasn't a cop. He then reveals his motivation for going after the gang and making up the story of his wife's death (who is, in fact, still alive and divorced from him) and his excuse is simply, "We needed a villain." Also, in said torture scene, Big-Daddy's death is a tad bit more gruesome and he dies before Hit-Girl even comes back to the rescue, not being able to say goodbye to him. In the graphic novel, he gets shot in the head with most of his brains coming out, while in the movie he gets burned to death but has time to tell his daughter goodbye. This was probably changed for the movie to give Big Daddy and Hit-Girl real motivation for going after the bad guys and to make the bad guys more, well, bad. Also, because Big Daddy's now ex-wife is revealed to be alive in the graphic novel, it is her (Mindy's/Hit-Girl's mother) that Mindy stays with at the end, not Sgt. Williams like in the movie.
(4) The biggest change overall probably comes at the end with Katie and what happens after Dave reveals himself to not be gay and that he is the real Kick-Ass. In the movie, Dave reveals the truth to Katie before the climax and she then falls in love with him. In the graphic novel, when Dave reveals the truth to Katie, Katie gets really angry and has her new real boyfriend beat Dave up. Afterwards, Katie then repeatedly sends pictures of her performing fellatio on her boyfriend just to make Dave even more miserable. This change garnered the most criticism from fans of the graphic novel, as they believe there was an important moral being told when Katie messed Dave over. However, some of the graphic novel fans do say that the happier outcome works good for the movie because in the long run, it makes the torture scene more emotionally effective, as Katie and many of the city's people are watching Kick-Ass and Big Daddy's torture on the news and Katie is seen crying in fear.
Several minor changes are detailed as follows: Kick-Ass is stabbed after confronting a group of taggers, not carjackers; the setup for the big fight scene where he attempts to recover a cat does not occur; it is Big Daddy and Hit Girl who request Kick-Ass and Red Mist to meet them, not the other way around; there is no such place as Frank's lumber store, and the burning building sequence occurs in a random apartment building where Kick-Ass and Red Mist rescue a trapped cat only to be rescued by firemen themselves; Katie's friend only makes a single appearance and does not even speak; the finale with the bazooka and the jetpack does not occur, instead there is relatively straightforward shootout; John Genovese and Chris (Frank and Chris D'Amico) have very little pagetime at all, as opposed to being major characters in the film; Red Mist is not upset to see Kick-Ass taken and tortured, even going as far as to mention he has had sexual thoughts about his death; Dave's Dad does not simply get over his wife's death, relying on Dave to help him get back into the dating world after a long period of depression. John Murphy, who composed the scores for 28 Days Later and 28 Weeks Later, both of which used "In the House - in a Heartbeat" (albeit under different cue titles in 28 Weeks Later), was indeed the head composer for Kick-Ass. He created a variant of the "In the House..." track for the sequence where Big Daddy fights in the lumber warehouse, called "Big Daddy Kills" on the Kick-Ass soundtrack. A track from Danny Boyle's Sunshine (called Kanada's Death, Pt. 2 (Adagio In D Minor)) which also was composed by Murphy, can be heard when Hit-Girl saves Kick Ass and Big Daddy. On the Kick-Ass soundtrack, it's called "Strobe". "Stand up" by The Prodigy, "Hey Little World" by The Hives, and "Bad Reputation" by Joan Jett.
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