Originality, even when it’s forced, is a rare and wonderful thing these days. Sometimes it comes about due to the constraints of budget or equipment. Sometimes the expectations or demands of a client or superior change. However it happens, if a production can manage to recover, even if it goes in an entirely new direction, the result is usually at least interesting, if not decent. The Emperor’s New Groove is more than decent, being an atypical Disney movie and, in my humble opinion, one of their most fun.
The story is set in an ambiguously ancient Mezzo-American empire, whose current head honcho, Kuzco, is something of a spoiled selfish jerk. The teenaged tyrant is looking to build his new summer home (complete with water slide) on the hilltop currently occupied by a small peasant village. His plans distract him from the machinations of his ancient witch of an advisor, Yzma, who conspires with her large and somewhat ADHD-afflicted handyman Kronk to poison Kuzco and usurp his empire. Unfortunately for Yzma, Kronk grabs the wrong vial and instead of dying, Kuzco is turned into a llama. The polymorphed potentate is dumped on a cart belonging to Pacha, leader of the village scheduled for destruction. In order to get back to his palace and regain his throne, Kuzco needs to work with Pacha, who will only help the emperor if he agrees to build ‘Kuzcotopia’ somewhere else. Hilarity ensues.
Originally, this was going to be a far more typical Disney musical, called Kingdom of the Sun. They had a Prince & the Pauper storyline, Sting was lined up to do the songs, everything was going swimmingly. The production began to suffer, however, when the team tried to find ways to make the story more original. Test screenings didn’t go well, and the two directors assigned to the project by Michael Eisner ended up working on two different films, with one leaning towards drama while the other aimed for comedy. When the more drama-minded director left the production, Eisner threatened to shut down the production entirely. While the animators were assigned to a Fantasia sequence, the writers and remaining director gave the film a serious overhaul. The result was The Emperor’s New Groove.
Think of the jaguars as very angry investors. But what the hell do they know?
Opting for an entirely comedic experience, the movie plays a lot more like something out of Warner Brothers than Disney. There’s no romance save the relationship between Pacha and his very pregnant wife, all but one of the in-movie songs were cut (which made Sting very upset), and the typical Disney cute animal very spitefully tries to get Kuzco eaten by a pack of hungry jaguars. A particularly Looney Tunes moment is in the third act when Yzma and Kronk are in a dark room, and all we can see are their eyes in an entirely black space. You’ll know what I mean when you see it.
One of the most brilliant decisions made was to cast David Spade as Kuzco. His performances in the various comedies he’s been a part of over the last decade or so have been somewhat hit and miss. Emperor’s New Groove is the former. Spade is very good at being a shallow jerkass, and channeling that into the shallow-as-a-thimble Kuzco is a stroke of genius. The small ensemble cast is, in fact, effective on all sides. John Goodman’s Pacha is very charming and endearing, Patrick Warburton launched a great voice acting career due to his turn as Kronk, and Yzma wouldn’t be anywhere near as enjoyable or the jokes to which she’s subjected as funny if her voice wasn’t coming out of former Catwoman Eartha Kitt.
One might even say she was “purrfect” for the role.
Combining this great voice work with some of Disney’s finer hand-drawn animations and quite a few lampshades being hung on the typical fare from the studio creates a very funny movie that still manages to be endearing in places. We see an actual friendship develop, the characters are memorable, the story moves a great clip and none of the jokes overstay their welcomes. In terms of both comedy and animation, this movie does everything it needs to do right not just right but very well.
Even if you don’t have kids, I’m willing to bet you’ll find The Emperor’s New Groove an amusing and refreshingly quirky romp from Disney’s animation studio. It fits well in just about any Netflix queue, whether you’re a fan of comedies in general or need a change of pace. It’s always interesting to see, over the course of a narrative, a complete jerkass grow and change into… well, a slightly more tolerable jerk. Which is part of the reason Scott Pilgrim vs. The World, in my opinion, works as well as it does.
…What? You haven’t seen that yet, either? Why are you still sitting there?
Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.
You should never be afraid to seize an opportunity when it appears. The next big idea that changes your life may come out of somebody else being a dick. You may walk into a room without any intention of meeting somebody new, and the next thing you know you’re taking wedding vows. It’s the old adage of never looking a gift horse in the mouth. So with that in mind, here’s a review of a movie I found by the side of the road.
From Paris with Love begins by introducing us to James Reece, an intelligent and methodical assistant to the American ambassador to France. He’s got a cushy apartment, a beautiful girlfriend, the works. However, he’s also a low-level field operative for the CIA, which is what he’s really passionate about. He’s just itching for his chance to prove himself and be a real boy agent, but the assignment his handlers give him doesn’t just involve a dangerous plot undertaken by some mysterious terrorists to… do something… but an equally dangerous partner: sarcastic, trigger-happy, go-for-broke professional crazy gunman Charlie Wax.
Charlie Wax, or at the very least John Travolta, tries pretty damn hard to save this movie. He provides a lot of the guilty-pleasure charm audiences might get from seeing a complete douchebag be the hero of the story. And pairing him up with Johnathan Rhys-Meyers’ somewhat officious and eager-to-please Reece seems like the stuff of buddy-cop movie legends. But where Sherlock Holmes got it right in making the buddies equals, Reece is pretty much the straight man and punching bag for Wax’s antics. It’s completely lopsided, with Travolta swiping most of this movie away from pretty much everybody else in it. And it isn’t like Travolta is so much better than everybody else: he’s just good enough to be mostly watchable while everybody around him struggles to be mediocre.
Label on can: May contain bullets. Label on Travolta: May contain ham.
Part of the reason a movie like Flash Gordon remains such a fan favorite is because there’s a whole lot of ham in it. Same goes for a few of the Star Trek films, including the latest one. And John Travolta’s definitely hamming things up here. In fact, rumors abound that Charlie Wax is hammy even by the standards of Travolta, and this is the gentleman responsible for the decidedly unsafe-for-vegetarians-and-Xenu-loyalists Battlefield Earth. But I was willing to overlook that, and the fact that he smuggled his gun Mrs. Jones into France in a rather improbable manner, because it seemed to be going in a relatively fun direction. It was after Wax asked for a ‘royale with cheese’ that I realized what was bothering me about From Paris With Love.
This is a shameless action cash-in flick. Like the beefy, roided-out, too-dumb-to-live juggernaut of this years’ summer, The Expendables, From Paris With Love is pandering to the folks heading to the movie theater to get something relatively bland and familiar. Thankfully, it was only in theaters for 5 weeks, and in DVD sales it came in behind Shutter Island. But its existence is still kind of sad. It’s cookie-cutter action scenes, lackluster dialog and flimsy premise combine to make it a cavalcade of mediocrity. I couldn’t even bring myself to say I hated this movie, it just kind of made me nauseous.
“Ready to drop this bomb on the box office when you are, pretty boy.
The disc I found stopped working about halfway through the movie. “Good,” I said to myself, “I can stop watching this because I know how it ends.” Reece will discover his idyllic Parisian life was actually more dangerous than he thought it was, he’ll have to do something like kill his boss or try to talk his girlfriend out of being evil, and he’ll end up being Wax’s partner at the end in such a way that’ll promise a sequel. Looking at plot synopses on the Internets I can see I wasn’t far off my prediction. I should’ve written it down and sealed it in an envelope. In any event, there really isn’t much more to say about this lackluster, tasteless and pandering waste of time.
From Paris With Love was co-written by Luc Besson, the genius behind The Fifth Element and Leon (or The Professional if you prefer). Its director was Pierre Morel, who brought us the surprisingly good Taken. What the hell happened, guys? How did your writing and directing chops come together to make something less than fantastic? I don’t know. In a way, I don’t think I want to. It probably involves wine, baguettes and at least one very unfortunate mime.
I realize this week’s review is a bit short and I apologize for that, but even if the DVD I rescued from the sidewalk hadn’t crapped out, there wouldn’t be much more to say. Even reviewing From Paris with Love, like watching the movie itself, is wasting your time, and you really should be doing something better with yourself. Like going to see Inception. Or listening to the Classholes Podcast. Or playing with a stray dog. Or putting Michael Bay through a wood chipper.
Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.
When I cross-posted yesterday’s review on the Escapist, a couple of people pointed out that the card game in that abyssmal movie was grossly misrepresented. Fair enough. Despite the fact that breaking the flow of the game to explain what a card is and does is actually something that happens all the time in actual collectible card games, I will concede I was perhaps a bit too harsh when I referred to the card game of Yu-Gi-Oh! as brain damaged.
I’ve played a few CCGs in my day. Magic: the Gathering, NetRunner, Vampire the Masquerade (remember when it was called Jyhad?), World of Warcraft, and even Dragonball Z. I know how these things work. It’s really, really difficult to make it interesting to someone viewing it from the outside with no interest in the game, and since Yu-Gi-Oh! never got my attention as a game, it sure wasn’t doing itself any favors in movie form.
However, that’s a subjective point of view. And some of the folks who have, with probably somewhat good intentions, brought up the merits of the game, are also viewing the work subjectively. Sometimes, if one remains in a subjective point of view, things like tentative references to other works, flimsy dialogue or plot contrivance can get past the radar since the subject is enamored with what’s been depicted in the work.
My goal in yesterday’s post, and in pretty much every IT CAME FROM NETFLIX! feature, is to do my utmost to remain objective. For the most part, there are things in a work that are going to make it good or bad for people as individuals. My mother isn’t a fan of gratuitous violence or excessive use of the F-bomb. So a movie like Pulp Fiction isn’t something she’s going to watch. However, that film does have objective merits that a good film should have: interesting characters, well-written dialogue, a good soundtrack and thoughtful direction. I and other critics might declare it “good”, but that doesn’t mean everyone’s going to see it. Car magazines might say an Aston Martin is a good car, but I’m not going to buy one. Mostly because I can’t afford it.
On the other hand, Avatar has, as objective merits, technical brilliance, a unique aesthetic, sweeping battle sequences and a decent performance here and there. However, it has a story that is at some times simplistic and others clearly drawing from other sources, as well as supporting characters that are somewhat shallow one-dimensional straw men for corporate greed, indigenous antagonism or American belligerence. From a subjective point of view, it’s difficult for me to forgive the story flaws and character problems because I’ve been working very hard to avoid those very things in my own works. Someone who isn’t neck deep in writing speculative fiction might be able to overlook those difficulties and judge the film as good based on its visuals and the composition of its action. And, really, I can’t say I’d fault anyone for that.
Being critical and attempting to see these things from an objective point of view is as much an exercise for my own work as it is inspiration from Confused Matthew or MovieBob. If I can take a step back from my work as a writer, view the objective merits of that work and make the changes necessary to correct any flaws I see, the work will be better for it. The catch is not to overlook flaws that exist just because I can’t bear to pull the trigger or see flaws where there are none because, let’s face it, we are all our own worst critics.
And if I keep editing instead of writing, this stuff I’ve written will never see the light of day.
There is a difference, in my mind, between a request and a challenge. A request is somebody asking an artist to do something for a personal reason – they have a particular subject they want exalted, or a pet peeve they’re dying to see run into the ground. A challenge, on the other hand, is a sharing of misery. When I did my review of Rise: Blood Hunter, that was a request. What happened last night was the result of a challenge, issued during the Classholes Anonymous podcast a couple weeks ago. If you missed it, go click the ad in the sidebar of my blog. Go ahead, I’ll wait.
The gauntlet was clearly thrown. And I, like a moron, took it up, apparently just to repeatedly punch myself in the face.
I should have taken Black Eagle’s advice to find the abridged version. Yu-Gi-Oh! The Movie doesn’t even get off to a good start. The opening narration, about an ancient ‘shadow game’ between Anubis, god of the underworld, and some nameless pharoah is redundant, dry and utter nonsense. “Not even eternity lasts forever.” Um, yes, it does. That’s the definition of eternity. Oh, and isn’t it a great sign when a kid’s movie begins with a scene of people being horribly buried alive?
Anyway, we cut to this little pipsqueak Yugi trying to solve this unsolvable Millenium Puzzle, an ancient Egyptian artifact that apparently hangs around your neck despite the fact it looks like it weight about five hundred pounds. When he solves it, he apparently becomes or is inhabited by the soul of the pharoah. I’m not entirely sure what the deal is, there. I have the feeling that if I’d suffered through the first few seasons of the horribly dubbed TV series I might have more of a clue, but I only have information from the movie to go on. And the movie doesn’t say shit about how this transformation of his actually works. Also, whenever the pharoah takes over Yugi’s body, he suddenly transforms from a shrimpy little kid into a tall young man with a much deeper voice and angrier hair. And nobody comments on the strangeness of this whatsoever.
The world has been taken over by this obsession with a collectible card game called Duel Monsters. It’s kind of like Magic: The Gathering, except that this game suffers from a problem of having its brain missing. Every single person who plays it doesn’t just carry a deck with them, they wear this retarded-looking gizmo on their arm. At all times. Now, if this were Hell’s Kitchen and these kids were carrying switchblades, I’d understand that. It’s a rough neighborhood. But, come on, you don’t have bags to carry this crap in? Are you that paranoid that a duel is going to break out at any moment? And while we’re on the subject of the gizmos, which are unnamed, if they project holographic images of the cards’ monsters and spells, the only way the images could do physical damage to the players – which apparently they do, judging by Yugi’s vocalizations when he is, among other things, brutally backstabbed (in a kid’s movie!) – is if they have the old Star Trek problem of the safeties being disabled. Or not having safties. What a great little toy for kids, huh? A card game where you can summon monsters to savagely beat your friends half to death during lunch hour. The PTA’s going to love it.
“Prepare to duel! FOR YOUR LUNCH MONEY!”
So the opening of the film and the premise for its battles are utter bullshit. The battles themselves should look cool at least, right? WRONG. Not only do the creatures in these duels look lackluster and almost entirely interchangable, as well as having needlessly complicated and similar names, the duelists make it a point to stop in the middle of their duels to explain what the card is and what it does. And this happens with every card. EVERY. SINGLE. ONE. Watching people play a CCG is boring enough as it is, but when this sort of crap is done every time a new card is played, complete with overly dramatic gestures and voice acting that is absolutely gut-wrenching in its amateur dramatics elocution, I have to believe the only adolescent audience really chomping at the bit to see this in theaters rode the short bus to school. Back when they had short buses.
When we’re not being thrown against the walls of our intelligence by this aggressive assault of stupid, the movie dumps exposition on the screen through the mouths of its characters with such utter blandness that I found myself almost wishing to be back in the middle of a duel. Not only is the exposition stupid, it contains perhaps the worst Egyptology lesson ever. Now, it’s not necessarily a bad thing to have super-powerful baddies resolving their conflicts through mundane games. Puzzle Quest proves that. But I couldn’t help but feel sorry for poor Anubis. The god of the afterlife who judged the souls of the dead, to my recollection, never set a plot in motion to bring about the utter destruction of the world. And I know this is probably a case of the dub making an already flimsy premise even more stupid, but if those cards Yugi has represent Egyptian gods, I’d love to find the part in the Book fo the Dead that refers to Slifer the Sky Dragon.
So apparently Egyptian gods actually look like this. Or… like this. I guess.
So far we’ve got a shitty plot, shitty battles, shitty animation and shitty mythology. Let’s see if we can find anything to even partially redeem this. At one point, the character of Kaiba climbs into a vehicle that I can only describe as a robot dragon. I have no idea where Kaiba got the resources to put this thing together, but it looks pretty badass. At first. Then the music comes in. Remember some of the incidental music from Transformers: The Movie? And I’m talking about the 80’s version, here, not Michael Bay’s somewhat bland explosionfest. The incidental songs were typical 80’s fare, but at least they were tolerable to listen to. This little song that plays while Kaiba flies up to see the fabulous Max Pegasus sounds like it was banged out by garage-dwelling wannabes that are trying way too hard to be Nickleback. If their aspirations begin and end with wanting to emulate the most unpleasant form of what can only tentatively be considered rock music, mission accomplished, I guess.
And while we’re on the subject of Kaiba, how the hell can he afford to build a highly complicated dome where he can test his deck against a simulations of Yugi’s? I know, I know, seasons of television in two countries, dubs suck compared to subs, online wikis, slashfics, derpy derpy doo. I am watching a movie, here, and am judging the movie based solely on what it provides its audience in terms of explanations and clarifications, i.e. none. Like Yugi’s inexplicable dual souls or the ways the holograms beat the crap out of the players, Kaiba’s fortune and resources go unexplained. We’re left with a hell of a lot more questions than answers. Why is Kaiba’s coat always billowing? If Kaiba’s really this interested in beating Yugi, why isn’t he doing it in a tournament setting where Yugi can be publically humiliated, instead of this private setting where he can cheat as much as he wants since there’s no oversight? And if Kaiba did win, who’d believe him? Couldn’t he at least have televised the event? Is anyone going to bother explaining the rules of this brain-damaged game? Why doesn’t Yugi’s grandfather have the hairstyle of an adult? And if this is a kid’s movie, what’s with all the fan service?
“Mommy? Why do my pants feel so tight?”
Just when you think it can’t get any worse, the plot goes from nearly non-existent to completely incomprehensible. In the final act, Yugi’s soul is sucked into this magical MacGuffin and forced to navigate an MC Escher painting. While the pharoah in Yugi’s much more adult body gets its ass kicked by Kaiba’s dickish cheating and topdecking, Yugi and his pals have to fight mummies. Apparently they’re not going to survive until the girl among them jumps in, saying that as long as they’re together, they can prevail. As if a lesson on the Power of Friendship wasn’t enough, they apparently drew a symbol while their hands were joined at some point in time before the movie that gives them super-powers. A reference to something incidental from the television series is, in a film, still a deus ex machina, and still sucks.
So the big climax happens when Anubis manages to manifest himself as a retarded-looking pro wrestler guy with super-powerful monsters and the ability to MAKE THE MONSTERS REAL! Wait. If the monsters weren’t real before, why did Yugi act like he was getting stabbed for real when he got stabbed by that creepy-ass clown? Anyway, an ass-pull happens, Anubis is destroyed or banished or sent to his room or whatever. Point is, the movie ended. And all of those questions I brought up? Never answered. Not a single one.
I know, Yugi. I know. It hurts me too.
Watching Yu-Gi-Oh! The Movie is an experience in cinematic torture. It’s bland, stupid, ill-conceieved and shamelessly pandering all at the same time. American children frothing at the mouth for the next obsessive collection of things on which their parents will spend money just to shut them up might have been entertained. But I’m more and more of the opinion that American children, by and large, have yet to unlock their higher brain functions. Maybe the school system is holding them back, maybe they’re eating too much fast food, maybe there’s too much exposure to things like Twilight and Halo and Justin Beiber, but it’s a moot point. I’m not here to discuss those matters, I’m here to review a movie. And this movie sucks. It’s atrocious. It was shat out by a studio looking milk more dollars out of impressionable youths who will stampede to the stores to pick up the awesome cards they saw on-screen. Here’s where I pick up my walking stick and shake it at these bunch of brain-dead drooling perpetual disappointments.
Back in MY day, when Magic: the Gathering was the only card game in town, we didn’t need a TV series or a shitty movie to get us to buy the cards. You know why? That game is good. There’s balance (more or less), clear rules (for the most part), fantastic card art (until anything potentially satanic gets edited out)… okay, it’s not a great game, but my point is people picked up the game, played it, and bought more cards to play more on the merits of the game itself. The card game born out of Yu-Gi-Oh is, as far as I can tell, every bit a product of the show and, if this film is any indication, it’s completely and utterly worthless. Do not go anywhere near this title. The series, the movie, the game, the other merchandise which includes those retarded things you wear on your arm because tables just aren’t cool enough – it’s all designed to make you stupid. It feeds on your intelligence. Avoid it at all costs. My deepest hope is that, since little to nothing has been said or heard about this franchise for years, it’s finally on its way to the same yawning abyss that has claimed Beyblades and those absolutely craptastic Go-Bots.
As for my “friends” Kona Kona and Chan… well, there’s a reason they put friendly fire in Alien Swarm, ya bastards.
Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.
A lot of production companies, investors and even film-makers like to assume that we, as a movie-going audience, are stupid. They think we can’t handle movies with deep characters, complex plots or themes that transcend a work and try to tell us something about ourselves. So more often than not, a movie about giant fighting robots or girls with guy trouble or unlikely partners solving crimes tend to be watered down in such a way that they’re palatable to the blandest, lowest common denominator of palate out there. Thankfully, some other projects aren’t afraid to take a chance on something smart, to take conventions we as an audience might take for granted and flip things around just to see what happens. Kick-Ass falls into the latter category, not only in that it adapts one of those comic books that looks at super-heroes from a completely different perspective as most mainstream IPs, but also in that this adaptation differs quite a bit from the book. I wouldn’t know, since I haven’t read the books myself, so I’ll be cribbing notes from critics far better (or at least better known) than myself.
Dr.PunchyWright can hunt me down later and break my face if it really becomes an issue.
Taking cues from the Spider-Man movies back when they were still good, Kick-Ass introduces us to a teenage high school loser who is both a social outcast and an unashamed nerd. He does well enough in school to not be in the slacker crowd, he certainly isn’t a jock, he’s practically invisible to girls (which he claims is his “only real superpower”) and among his friends, to paraphrase his own words, he’s not the funny one. And yet, it’s living this kind of mediocre existence that leads him to buy a dopey-looking wetsuit, pick up a baton and start fighting crime. Or trying to. Mostly, he gets the crap beaten out of him. However, somebody with a camera phone tosses his exploits at the Internet, and WHAM, he’s a star. He’s a super-hero. And he’s getting pulled bodily into an escalating confrontation between a sadistic mob boss who’s also a family man, and a devoted father/endearing daughter team who are also sadistic costumed vigilantes.
Kick-Ass, as a comic, seems to be in the same vein as Watchmen or Wanted, taking a more cynical view of the world of super-heroism and trying to inject a dose of realism or humanity into the characters involved. Of the three, Watchmen weathered the transition to the screen the most intact, with its themes and nuances preserved in a nearly immaculate fashion. It’s a haunting commentary on the human condition couched in the deconstruction of super-heroes in general. Wanted was changed almost entirely from its comic book roots, which is a shame because a lot of the fun in that work comes from the way its protagonists behave given that they have super powers but none of the constraints of being ‘heroes’. Read the book if you want to know what I’m talking about, but what Wanted got right was the theme of doing something with your life that gets you out of the mundane things that you know in your mind are slowly killing you, but you do them anyway because it’s easier to get paid for that crap than it is to try something new and potentially dangerous. Kick-Ass also changes, ejecting as it does a lot of the cynicism from the printed page and opting for a more balanced moralistic stance. Sure, some of the stuff on screen is dark and a jab is taken at the audience’s expectations once or twice, but on the whole, part of what makes the experience so good is that it’s more interested in having fun than pointing out how pathetic you are.
As a character, Kick-Ass is aware of how pathetic he is but he doesn’t let that stop him. He’s determined to at least try to make a difference, and it leads to him being extremely endearing and a true underdog of a hero. I think that some people might overlook Aaron Johnson’s work entirely but I can’t do that in good conscience. This is a solid leading role and as much as the movie is almost stolen entirely from his character, Johnson still comes through on the other side with a performance that is one of the best I’ve seen in a movie like this since the first two Spider-Man films.
In fact, Kick-Ass is, in terms of being endearing and realistic, almost a better Spider-Man than Spider-Man was. This film made me miss those early days of Tobey Maguire getting to know his powers and trying like hell to win Mary Jane’s heart. Both his Spider-Man and Aaron Johnson’s Kick-Ass have as their core power, not radioactive webbing or gamma rays or a magical MacGuffin, but real heart and a never-say-die attitude. If Kick-Ass as a film were a more cynical work, the optimism that fuels the teenage hero would have him dead in the 89th minute, the camera pulling back from his broken and lifeless body before cutting to black as some ironically upbeat music plays.
The film isn’t without some delicious soundtrack dissonance, however, and when it comes to that sort of thing, I will be hard-pressed to name a better example than Hit-Girl going to town on bad guys with bladed weapons to the music of the Banana Splits. Chloe Moretz completely owns both this role and pretty much any time she’s on screen. She’s the Comedian from Watchmen only 11 years old and wearing pig-tails: completely aware of how damn depraved her actions are but not giving a shit because she’s slaying bad guys. She knows that what she does shocks onlookers and will leave the cops who show up at the scene speechless, and that’s the whole point. If this is what she does to folks who break the law, what chance have you got? Better put down the cocaine and turn yourself in before you end up with a balisong in the throat, boss.
A lot of critics cried out in dismay at the very notion of this little girl perpetuating and, even worse, being the target of this level of high-energy, unabashed and completely bone-crunching violence. They seem to think that sick thrills or cheap laughs would be derived from the end result. It’s like the outcry that emerged when BioWare advertised Mass Effect included sex: completely uninformed and totally wrong. No, Hit-Girl’s exploits are not played for laughs. The way this girl has been brought up is entirely backwards. She knows it, her father knows it, and the audience knows it, too. However, she makes the most of what she’s got, because railing against her father’s vendetta is only going to make things worse. She wants her father to be happy, and the most expedient way to do that is to cut a bloody swath through the people who made his life miserable. Hit-Girl is a smart, dedicated and deep down very compassionate character, even if she is violent, cruel, foul-mouthed and maybe a little cracked. She’s got more complexity than most female characters in films today, and I for one am glad that the makers of Kick-Ass didn’t pull a single punch when it came to putting her through her paces.
Speaking of Hit-Girl’s upbringing, another strong performance in Kick-Ass is Nicholas Cage as Big Daddy. His costume, performance and methodology are clearly a send-up of Batman, but his character is unconstrained by Batman’s one rule of not killing his opponents. If Batman did ever eschew that rule, it would look a lot like this. As a result, Big Daddy might be one of the best depictions of Batman ever, if that makes any sense. Cage does some things with the character that are at once fantastic and downright strange, and it’s a testament to his capabilities as an actor that are sometimes undercut by a bland concept or bad screenwriting, like National Treasure,Next or Ghost Rider. In fact, I’m going to say this right now, and I don’t care who knows it: I like Nicholas Cage. I think he’s talented and I enjoy watching him on-screen, even if I’m laughing at his ass. Half the crap he does isn’t necessarily his fault, and even when he’s off, he’s still memorable. I like him. There. I said it.
In terms of the rest of the production, Christopher Mintz-Plasse may surprise some of the fans of McLovin in his turn as a fellow comic-book fan donning a costume and calling himself Red Mist. It’s part of a plot that works very well and hums along without losing the audience, bolstered by the musical choices in both soundtrack and score. The film isn’t perfect, as the low budget shows in places and sometimes the film seems to have a bit of filler here and there, but it never gets in the way of the movie being fun. I get the feeling that a lot of the look and feel of the movie comes right out of the comics, and as much as the blacker portions of the story and theme have been left behind, the result still manages to take a jab at us as the audience as much as it puts its characters through the wringer. Like the changes made to Watchmen, my suspicion is that Matthew Vaughn and company kept to the spirit of the work while changing things up a bit to make the story a bit more suited for the silver screen.
Regardless of all of that, Kick-Ass kicks ass. Provided you’re a fan of super-heroes and not put off by the sort of hyper-realized violence that would be right at home in a Sam Peckinpah or Paul Verhoven flick, it belongs on your Netflix queue if not your DVD shelf. It’s a brutal, no-holds-barred, steel-toed-boot-to-the-crotch-while-laughing-all-the-while action comedy that has no fear, no hesitation and no limits. It’s a roller coaster through a demented carnival of bright costumes and gushing blood that occasionally smacks you in the face with a water balloon with profanity scribbled all over it in Sharpie.
And I wouldn’t have it any other way.
Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.
