For me, Hit-Girl kicks the ass of the superhero world's overdog males. Body-doubled or not, Moretz's martial-arts scenes look terrifically good, and she is coolly assured in every scene she is in, pinching the camera's attention without effort from Taylor-Johnson, although he, too, is likable and relaxed. She shows herself to be still the most stylish superhero around. Now it sounds a bit lame.īut there's one really good thing about this film, and that is Chloë Moretz's Hit-Girl. When the C-bomb was dropped in the first movie, it was a delicious and insolent provocation, designed to trigger moral panic and high sub-collar temperatures in pundits everywhere. The showdown of superheroes v supervillains is less interesting, and it is disappointing that Kick-Ass agrees to take second-fiddle status to a new homemade hero, Colonel Stars and Stripes (Jim Carrey), whose role is underwritten and amounts to hardly more than an extended cameo. This second Kick-Ass is now directed by Jeff Wadlow (who made the mixed martial-arts drama Never Back Down), with Vaughn and Goldman credited as producers it delivers less in the way of boot-buttock contact. His utter evilness is clinched when he reveals himself to be on Twitter, with more than 1,000 followers. Meanwhile, obnoxious rich kid and wannabe superhero Chris D'Amico (Christopher Mintz-Plasse), formerly known as Red Mist, has decided that his real destiny is to be a supervillain, and after rummaging through his late mother's more recherché outfits, puts together a leathery costume, calls himself the Motherfucker, and leaves the Freudian associations unexamined. Now an enjoyable, though less daring and more conventional sequel has reunited the two young stars of that bizarre and bizarrely thrilling escapade: Dave Lizewski, Kick-Ass himself (Aaron Taylor-Johnson) is painfully readjusting to civilian existence in high school, and the newly orphaned Mindy, or Hit-Girl (Chloë Grace Moretz) is trying to maintain her superhero vocation while dealing with adolescence. They challenged the placid superhero supergroups, and for my money revived the authentic teen romance and teen pathos of comic-book escapism. Goldman and Vaughn ignited a new spirit of punk rock in the world of masks and capes. It was a brilliant and brazen black-comic fantasy about a shy teen trying to make it as an actual crime fighter.
In 2010, screenwriter Jane Goldman and director Matthew Vaughn brought Kick-Ass to the screen, the creation of graphic novelist Mark Millar.
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