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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.
Dave Lizewski is an unnoticed high school student and comic book fan with a few friends and who lives alone with his father. His life is not very difficult and his personal trials not that overwhelming. However, one day he makes the simple decision to become a super-hero even though he has no powers or training.
Superhero movies have ruled the box-office for the last decade. The X-Men, Spider Man, the Incredible Hulk and Iron Man have all become integral parts of popular culture, migrating to Hollywood from the relatively enclosed world of the comic-book. Kick Ass then, with its focus on the potential for 'real' super-heroes in a world governed by silence and complicity, is best described as timely.
Pop culture references abound. 'Youtube' and 'MySpace' (now I've thought about it, who uses MySpace anymore? Maybe the script was written before the Facebook explosion) play integral roles in the narrative, and in a great self-referential moment the hero of the film, unapologetic geek Dave Lizewski (played with a pitch-perfect accent by Aaron Johnson), learns that his crime-fighting exploits are to be adapted into a comic book (the film itself is adapted from Mark Millar's comic book series of the same name).
The story of Kick Ass is simple, which is probably why it's so appealing. Dave Lizewski is a nerdy, comic-book fixated teen, struggling to deal with his burgeoning interest in the opposite sex as well as the thugs who regularly snatch his lunch money. One day, he asks himself a question; why has no one has ever tried to be a superhero? He decides to take things to in his own hands, ordering a cut-price diving suit and heading out to fight crime as the eponymous Kick Ass. By the end of his first mission, he has been knifed in the stomach - not a great way to start a career.
Dave's next mission is more successful, and footage of him literally 'kicking ass' goes viral, attracting millions of viewers worldwide. It soon emerges that Dave isn't the only super-hero in town. Ex-cop Big Daddy (Nicholas Cage, doing a great Adam West impression) and his eleven year old daughter Mindy (alias Hit Girl) have an armoury that looks like it belongs in a government bunker, and more fighting prowess than characters you see in 18-rated video games. To watch an eleven year old girl sprinting along walls and performing back-flips is extraordinary, especially when you consider that the said eleven year old is also slicing peoples' legs off. 'Big Daddy' is taking his revenge on crime-lord Frank D'Amico (Mark Strong) for setting him up for drug possession before his daughter was born, systematically wiping out swathes of his thugs.
Chris D'Amico (Christopher Mintz-Plasse) - the rich-kid son of Frank D'Amico - also suits up as Red Mist, and as he and Dave join forces the threat of Chris's increasingly frustrated father becomes steadily more immediate.
Some of the best moments in the film are the most taboo. Hit Girl (Chloe Moretz) is clearly the stand out character here, a cyclone of killing prowess who takes out six knife-wielding junkies without breaking a sweat. The sheer wrongness of this situation isn't ignored, and in some senses Mindy is a normal kid. When her father takes her to a stretch of concrete wasteland to introduce her to the sensation of being struck down by a bullet, she whines for a trip to the bowling alley and a bowl of ice-cream. She is simultaneously a ruthless killer and a whiny little girl. Now I look back on it, it's quite unsettling to think how delighted I was to watch her cut down a ware-house full of criminals.
Kick Ass is a marvellous film, consistently funny and heart-felt in the right places. Although its opening sequence would seem to indicate it's a 'realistic' attempt to portray a super-hero, it's just as absurd as most other comic-book films. At points it came across as pure wish-fulfilment (case in point, an overweight, smug geek pal of Dave's getting a spontaneous kiss from one of the hot girls at school), but that doesn't matter. If anyone goes into Kick Ass expecting a documentary or a lesson on ethics, they will be sorely disappointed. However, if you want a film that will have you smiling from beginning to end, book your ticket now.
This is just one of many of my reviews. You can read more at my blog: http://picturehouseshots.blogspot.com/
I thought this film was so original and highly amusing as well. Every one should check it out. The themes in the film, although very adolescent in nature, take on a very macabre meaning for adults and youngsters alike. The struggles with growing up, the drug-pedaling gangsters taking lives and the simple meaning of the word family all come together to remind how easy it is to feel like a nobody in today's society. This film should be the example that prospective filmmakers follow to ensure they produce good quality, well-written and acted pieces of brilliance. Cleverly bordering on juvenile and downright grotesque, Kick-Ass delivers a very poignant message to its audience: stand up for what you believe in – and although it doesn't contain any real superheroes, this is easily the best superhero film out there.
Having my own personal history of playing with weapons, I can easily tell you that anyone with a penchant for martial arts (or ass-kicking) will immediately fall for this little beauty. That said, it's not solely aimed at the fighters amongst you. There's a child in it, for one. An ass-kicking child, but a child nonetheless; one that will probably shove a heap of wind up your rear pipe if you're one of those people that think children should be wrapped in cotton wool. Or that children shouldn't be commended for fighting or using weaponry. If you find yourself falling into one of these categories, please stay away from this production. And don't be fooled by the little purple-haired wonder either – she'll break you
and the horse you rode in on.
Its balancing act between innocence and gore perfectly matches the expectations of genre fans, who should embrace the movie.
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. d6a2afd33b
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