Parodies are a dying art. I hate to say it — because I love them so much — but over the last few years the unrelenting hacks known as Friedberg and Seltzer have systematically killed the art form with their brainless pop culture-stroking disguised as commentary. I remember the good ole’ days of Abrams and Zucker (prior to their Scary Movie entanglements) when parodies where funny precisely because they established their own voice and didn’t use the material they were lampooning as a crutch. Airplane! mercilessly mocked the bizarre run of airport disaster movies in the '70s but it also transcended easy jokes and script aping. Today thanks to inexplicable box office validation an entire generation now thinks that the “Random celebrity what are you doing here?” gag is the appropriate formula for parody.
Kick-Ass is going to put a giant boot in the face of that mentality. It is a pitch-perfect send-up of everything that is characteristic of superhero films. It is versed enough to cite convention but clever enough to find the humor in the genre’s absurdity. And the biggest advantage Kick-Ass has in the parody department is that it is unrelentingly entertaining. It seems that in the last few years terrible parodies have made undeserved fortunes at the box office while better-crafted entries have gone largely unseen. Kick-Ass on the other hand has all the necessary components to clean up at the box office and be well deserving of its success.
The performances in the film are all top notch. Nicolas Cage showcases yet again how he can make his personal lunacy work very effectively under the right conditions. The overly Leave It To Beaver dialogue he and his daughter exchange prior to assuming their crime-fighting alter egos is charmingly silly and if you don’t get a kick out of his channeling of Adam West from the 60’s Batman series when he is in the suit I highly suggest a humor implant immediately. Aaron Johnson in the title role plays the lovable loser to perfection. He brings a lot of heart to the character that drives the emotional crux of the film. And as much as Christopher Mintz-Plasse is the most recognizable young actor in the film it’s Chloe Moretz as Hit Girl who totally McLovins the film; stealing every scene she’s in. The personality comedic timing and ruthlessness that she brings to this character demonstrate a talent level well in advance of her age.
In terms of the treatment of the teenaged characters in the film this script is tantamount to something written by the late great John Hughes in so much as the teens are allowed to speak honestly and in their own limited vocabulary without the pretense of wit. I think teen comedies are improving dramatically of late but the obsession with making teens pithy wordsmiths baffles me to no end and I’m glad they were allowed to just be vulgar. And my God this thing is vulgar…and violent to boot. We get to watch an 11 year-old drop f-bombs and stab thugs in the forebrain. I mean come on the movie is called Kick-Ass for a reason and while it is a comedy the action sequences are unstoppably exhilarating.
A smart somewhat genre subversive parody Kick-Ass is also action-packed and entertaining enough to stand on its own two legs as a film and not just a lampoon. The costumes the music the fight choreography all work in harmony to bring us a blockbuster superhero film that is legitimately humorous in both its homages and honest characterizations. Do not miss this film.
November 14, 2005 6:06am EST
Since the age of 12 Marcus (Curtis “50 Cent” Jackson) wanted to be a rapper. After his mother Katrina (Serena Reeder) is brutally killed Marcus’ rap dreams are put on hold and he begins hustling drugs to make enough money for a nice pair of shoes. Only he doesn’t stop at the shoes. When Marcus gets involved with Majestic (Adewale Akinnuoye-Agbaje) he sees how much money there is to be made in the drug business and he wants it all. Then his childhood best friend Charlene (Joy Bryant) moves back to Queens and they fall in love. But it isn’t too long before she gets pregnant and he is arrested. While perfecting his rap skills in jail he meets Bama (Terrence Howard) who becomes his manager and lifesaver on the outside taking him out of the drug game for good. 50 Cent may have the rap world locked up but his acting skills leave a lot to be desired. Watching him trying to emote is sort of akin to watching a bad comic bomb on stage. He seems to be the first rapper-turn-actors these days who can’t cut it. Thankfully Get Rich’s supporting cast help out--a little. Marc John Jefferies (Stuart Little 2 Spider-Man 2) who plays the young Marcus nearly steals the show. At first loving and caring then turning cold and unforgiving Jefferies made it look easy to flip the switch between the two. Another standout is Adewale Akinnuoye-Agbaje (HBO’s Oz) as the crooked drug lord Majestic. And in a year chockfull of good performances Terrence Howard who obviously just wanted to work with Sheridan adds much needed comic relief as the quirky Bama. Director Jim Sheridan whose resume includes Oscar-winning films such as In America and My Left Foot probably thought that if Oscar-winning director Curtis Hanson could handle Eminem’s 8 Mile with aplomb then he could do the same thing with a gangsta rap story. Guess he forgot the fact Hanson (L.A. Confidential) can do gritty. The very Irish Sheridan is just clearly way out of his element. Get Rich jumps around so much you don’t have any time to figure out what’s happening who’s who or where the heck the film’s heading. And it doesn’t help that the chaotic script is peppered with such stereotypical dialogue. Honestly if you want to see a compelling story about a wannabe rapper getting his shot (and not shot at) rent this year’s Hustle & Flow.
With four days left before his execution notoriously reticent death row inmate David Gale (Kevin Spacey) decides at last to share his story with the press. He chooses as his vessel reporter Bitsey Bloom (Kate Winslet) who's just spent a week in the slammer for refusing to reveal her sources on a kiddie porn cover story. As Gale's story unfolds (and we see it in flashback) Bitsey becomes convinced he's innocent and she and her intern Zack (Gabriel Mann) begin a race against the clock to discover the truth that will save him. Sound like an overblown blurb from a movie studio's press files? Apologies for that but the best way to talk about this story's climactic points is to resort to hyperbolic clichés of this ilk--the movie's key moments are without exception melodramatic and overblown. Nonetheless most of the movie is suspenseful the story has several interesting (I wouldn't go so far as compelling) twists and there are plenty of reasons to root for Gale's cause especially if like him and admittedly like me you're a political liberal who fancies yourself at least somewhat intellectual.
If there's one thing that defines Kevin Spacey's acting style it's his unparalleled ability to discourse at length on philosophical minutiae a gift that undoubtedly contributed to his getting this role in the first place. But Spacey gets to stretch a bit more playing Gale--the professorial character in his pre-death row life was a loose cannon even by academia's standards: he partied with his students talked about fantasy and desire in class and belonged to Death Watch a liberal advocacy group opposed to the death penalty. Beyond that his personal life was a disaster. His wife was having an affair with a Spaniard Gale was a borderline alcoholic and his ego was the size of a generously proportioned watermelon. So there are plenty of challenges for Spacey in the part--both in the flashbacks and the death row sequences--and he obviously embraces them all; unfortunately sometimes he squeezes the life out of them in the process foregoing for example the tragic nuances of real alcoholism for the stumbling sobriquets of an overblown town-drunk philosopher. The equally gifted Laura Linney as Constance--Gale's stalwart friend fellow professor co-director of Death Watch and alleged murder victim--finds herself in less familiar territory. Her character is complex yet remarkably one-dimensional for most of the movie which leaves the talented actress turning--albeit reluctantly--to melodrama for support. Winslet too is on unfamiliar ground with an American accent (quite well done old chap-ette) a mission and a bitchiness that's too little seen from this pristine young girl.
It's truly unfortunate that director Alan Parker didn't keep a tighter handle on The Life of David Gale's more dramatic moments since had they come off better this would have been a more even and generally more watchable film. As it is each of the talented lead actors has a scene in which they really let loose on the hysterical wailing waterworks--Winslet lucky gal has two. They may not be bad enough to make you cringe necessarily but they're obviously overplayed. The film would have benefited from a wail-o-meter that would have allowed the bawling to go so far and only so far. All that aside though this film is ultimately less melodramatic than its equivalent TV movie version would have (and probably has) been--and that leads me to my final point. The Life of David Gale is about what TV pundits would call a hot-button issue and while the public is intelligent enough not to be emotionally swayed by the hue and cry of activists on either side of the argument we can--and by God we will--be entertained by it. So I just want to say thank you Hollywood for once again one-upping the 6 o'clock news and for showing that even discussions of the most important issues of our time can be squeezed into a two-hour movie and manipulated in the interests of suspense and drama.