Kick Ass flies faster than a speeding bullet to the heart of what a typical 18-35 year-old male wants from a modern action film – original set pieces directed with more than a dash of élan by director Matthew Vaughn, a profane but witty script and enough cultural references to fill many a fanboy forum.
When geeky teen Dave transforms himself into a vigilante/wannabe superhero named Kick Ass, his ill-advised attempts to fight local thugs make him an internet phenomenon. However, when Kick Ass inadvertently angers a New York mob boss, Dave requires help from a rather more dynamic duo.
This film is great fun - it romps along at a fair old pace while deftly interweaving multiple story lines and finishes in well under two hours - a refreshing change from many of the recent slew of superhero movies.
Acting performances are solid all around, in particular Nicholas Cage’s edgy turn as Big Daddy calls to mind the charismatic roles of his early films like Wild at Heart rather than more recent dross like The Knowing.
13-year old Chloe Moretz shines as the diminutive but deadly Hit Girl and has some great scenes but, like the film in general, never really emotionally engages the audience to the point where you are rooting for the good guys or worrying about their survival.
As a consequence, Kick Ass is like a firework display – bright, loud and exciting with some brilliant, original moments but lacking the emotional depth to leave any lasting impression.
Monday, 29 March 2010
Tuesday, 23 February 2010
Review: Mic Macs
When Bazil discovers a pair of rival weapons manufacturers are responsible not only for his father’s death but also a stray bullet that has lodged in his own brain, he enlists his set of wonderfully odd friends to hand out some Gallic retribution.
Director Jean-Pierre Jeunet’s atmospheric dark palette calls to mind his previous films Amelie and Delicatessen and while this is a fun romp it doesn’t quite bare comparison to these classics of world cinema.
The cast all perform gamely, in particular Dominique Pinon who steals several scenes as the cheeky human cannonball Fracasse.
A satisfying dénouement delightfully blends comedy with stinging political satire and elevates Mic Macs above its nearest Hollywood comparison, Ocean’s Eleven. Both are pacy, light-hearted ensemble pieces featuring elaborate mission-based plots, but the added moral message brings a little extra depth to the events of the French film.
Director Jean-Pierre Jeunet’s atmospheric dark palette calls to mind his previous films Amelie and Delicatessen and while this is a fun romp it doesn’t quite bare comparison to these classics of world cinema.
The cast all perform gamely, in particular Dominique Pinon who steals several scenes as the cheeky human cannonball Fracasse.
A satisfying dénouement delightfully blends comedy with stinging political satire and elevates Mic Macs above its nearest Hollywood comparison, Ocean’s Eleven. Both are pacy, light-hearted ensemble pieces featuring elaborate mission-based plots, but the added moral message brings a little extra depth to the events of the French film.
Wednesday, 27 January 2010
Review: Up in the Air
A film for these dark economic times, Up in the Air sees Academy Award-winner George Clooney perfectly cast as Ryan Bingham, a suave corporate consultant who travels from company to company firing swathes of employees.
Encased in an emotional vacuum created by his rootless existence Bingham is entirely content until Natalie Keener, a thrusting young executive, introduces a technological alternative that will jeopardise Bingham’s entire lifestyle and burgeoning relationship with fellow frequent flyer Alex.
Charismatic performances from the three leads allow director Jason Reitman to deliver a mainstream film with intelligence, edge and charm.
A message about the joy of human relationships is deftly handled and the film steers well away from the schmaltzy clichés so prevalent in other mainstream Hollywood offerings.
After directing the charming Juno and razor-sharp Thank You for Smoking Reitman’s third film establishes his credentials as one of Hollywood’s most promising directors, Oscar recognition may not be far away.
Encased in an emotional vacuum created by his rootless existence Bingham is entirely content until Natalie Keener, a thrusting young executive, introduces a technological alternative that will jeopardise Bingham’s entire lifestyle and burgeoning relationship with fellow frequent flyer Alex.
Charismatic performances from the three leads allow director Jason Reitman to deliver a mainstream film with intelligence, edge and charm.
A message about the joy of human relationships is deftly handled and the film steers well away from the schmaltzy clichés so prevalent in other mainstream Hollywood offerings.
After directing the charming Juno and razor-sharp Thank You for Smoking Reitman’s third film establishes his credentials as one of Hollywood’s most promising directors, Oscar recognition may not be far away.
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