Clark Duke, from Glenwood, Arkansas, made his directorial debut back in 2020 in a movie that’s appropriately titled ARKANSAS. The film has a hell of cast (Liam Hemsworth, John Malkovich, Vince Vaughn, etc.) and focuses on the southern drug industry. You wouldn’t know it from today’s video, but it’s a color film, and it’s a good film. If you haven’t seen it, I recommend it (and so does Lisa – Arkansas Review)!
Tag Archives: Clark Duke
Film Review: Arkansas (dir by Clark Duke)
Oh, Arkansas.
As far as states go, Arkansas usually doesn’t get much respect. In a country where much of the culture is dominated by city-dwelling secular liberals, Arkansas is a state the remains stubbornly rural, religious, and conservative. If your grandparents were a state, they’d probably look a lot like Arkansas. Arkansas is viewed as being old-fashioned and when it does make the news, it’s usually not for anything that anyone in the state particularly wants to brag about. Democrats will always view Arkansas as being the home of Mike Huckabee. Republicans will never forgive the state for springing the Clintons on the rest of the nation. (Interestingly enough, Mike Huckabee and Bill Clinton both grew up in the same tiny town.) Little Rock has gangs and government corruption. Hot Springs has gamblers looking to hide out from the mob. Fouke has the Boggy Creek Monster while Ft. Smith is best-known for having once been home to the hanging judge, Isaac Parker. You get the idea. When it comes to the way that the rest of the country views the state, it often seems as if poor Arkansas just can’t catch a break.
With all that in mind, I have to say that I really love Arkansas. My paternal grandparents lived in Arkansas and I’ve still got relatives all over the state. Arkansas was one of the many states where my family lived while I was growing up. (The others were — deep breath — Texas, Oklahoma, New Mexico, Colorado, and Louisiana.) We would stay in Arkansas for months at a time, depending on how well my mom and dad were getting along at the time. It’s an unpretentious state, one that’s full of friendly, no-nonsense people and beautiful countryside. I have a lot of good memories of Arkansas. It’s always in the back of my mind that, wherever I’m living, I can always just go back to Arkansas and spend the rest of my life living in a small town with my cousins. Of course, I’d probably end up miserable over the lack of movie theaters. Whenever I’m living in the city, I find myself yearning for the simplicity and decency of the country. Whenever I’m in the country, I find myself missing the excitement of the city.
The Natural State (as Arkansas is officially nicknamed) is not only the setting for some of my most cherished memories. It’s also the setting for a film called, appropriately enough, Arkansas. The directorial debut of actor Clark Duke, Arkansas tells the story of four very different men. Kyle Ribb (Liam Hemsworth) is quiet and rather stoic. Swin Horn (Clark Duke) is talkative, eccentric, and perhaps a bit too cocky for his own good. They both work at a national park, where their boss is a veteran ranger named Bright (John Malkovich). Of course, it doesn’t take a lot of effort to notice that neither Kyle nor Ribb really seem to do much work at the park. And, for that matter, Bright certainly does own a big and impressive house for someone who has spent the majority of his life as a ranger….
Kyle, Swin, and Bright are actually drug dealers. They transport drugs all over the southern half of the United States. Kyle and Swin are supervised by Bright. Bright, meanwhile, reports to the mysterious Frog. Kyle and Swin have never actually met Frog and there are rumors that he might not even exist. Of course, the film has already revealed to us that Frog (played by Vince Vaughn) does exist and is a local pawnshop owner.
Kyle narrates the film, informing us that the difference between Southern organized crime and Northern organized crime is that, in the South, it’s not all that organized. As Kyle explains it, the infamous Dixie Mafia is not so much an organization as it’s just a collection of undisciplined lowlifes who have no real integrity or loyalty to anyone else. When you become a drug dealer in the South, you’re a drug dealer for life. There’s no going back if you change your mind. You start out at the bottom of the ladder and, whenever someone above you if either murdered or imprisoned, you get your chance to move up. No one is ever sure who is working for who or who can be trusted. Every order from the boss is examined and re-examined as the two dealers try to figure out whether or not they’ve won the trust of the mysterious Frog.
Unfortunately for Kyle and Swin, a misunderstanding leads to violence and several deaths. With no way to directly communicate with Frog to let him know what exactly happened, Kyle and Swin know that their lives could be in danger. The film follows Kyle and Swin as they prepare for their ultimate meeting with Frog while, at the same time, detailing in flashback how Frog himself eventually came to his position of power. Throughout the entire film, we watch as history repeats itself. As Kyle said, once you’re a drug dealer, you’re a drug dealer for life.
Arkansas is a surprisingly low-key film. Kyle, Swin, Bright, and Frog all manage to be both very laid back and very aggressive at the same time. (Anyone who has spent anytime with a large group of rednecks will understand what I’m talking about.) As a director, Clark Duke is as interested in capturing the rhythms of every day life in Arkansas as he is in orchestrating the inevitable violence that results from all of the film’s betrayals and mistakes and some of the best scenes in the film just feature Kyle and Swin talking about nothing in particular while driving down the interstate. The film’s mix of cheerful goofiness and existential horror will be familiar to anyone who has ever gotten lost on the way to Hot Springs.
Liam Hemsworth and Clark Duke are sympathetic in the lead roles, though Hemsworth’s Southern accent does slip a few times. Swin meets a woman (Eden Brolin) in a grocery store and their subsequent romance manages to be both creepy and touching at the same time. John Malkovich is, as usual, wonderfully eccentric. That said, the film is pretty much dominated by Vince Vaughn, who plays Frog as being both dangerously ruthless and also as someone who understands that his eventual downfall is inevitable. Frog came to power by betraying his boss and, as played by Vaughn, Frog is very much aware that he’s destined to eventually be betrayed as well. Frog has made peace with both his place in the world and the reality of his situation and, in many ways, that makes him an even more dangerous character than he would be otherwise. He has nothing to lose and he knows it.
Obviously, I liked Arkansas, both the state and the movie. It’s an well-done work of Southern pulp.
Catching Up With The Films of 2018: The Last Movie Star (dir by Adam Rifkin)
Vic Edwards (Burt Reynolds) was once the biggest movie star in the world.
At times, that’s hard to believe. Vic may have started out as a stunt man before moving on to star in westerns and action movies but Vic is now 80 and he moves slowly and with a permanent slouch. At times, he appears to be so frail that you wonder how he even manages to get out of bed in the morning. Though he still possesses the acerbic wit for which was once famous, the words now come out a lot slower and his voice is tinged with pain that is both physical and emotional. It’s been a while since Vic appeared on a movie set. After years of being a self-described asshole, Vic now spends most of his time alone. His only friend appears to be his aging agent, Sonny (Chevy Chase).
When Vic receives an invitation to attend a film festival in Nashville and accept a career achievement award, Vic goes in hopes of not only getting his ego stroked but also visiting some of the places where he grew up. It’s only once Vic has arrived that he discovers that the film festival is basically a group of wannabe hipsters hanging out in the back of a bar. Under the direction of Doug (Clark Duke), the film festival has previously given lifetime achievement awards to everyone from Al Pacino to Robert De Niro. Vic’s the first recipient to actually show up.
After a night of watching a younger version of himself and answering inane questions about his career and his turbulent personal life, Vic comforts himself by getting drunk and yelling at Doug and his friends. The next day, while the film festival continues, Vic get Doug’s sister, Lil (Ariel Winter), to drive him around Tennessee. Vic wants to visit the places of his youth. As for Lil, she just wants to get rid of her cranky passenger so that she can deal with her emotionally abusive boyfriend.
As you probably already guessed, in The Last Movie Star, Burt Reynolds may have been cast as a character named Vic Edwards but he was basically playing himself. (Director Adam Rifkin has said that he would have abandoned the film if Reynolds had turned down the role) When Vic watches himself onscreen, the clips are from Burt Reynolds’s old movies. When Vic falls asleep and has a dream in which he confronts his younger self, the film uses footage from Deliverance and Smoky and the Bandit. (“Slow down!” Vic yells as the cocky, younger version of him speeds down a country road.) When Vic considers his own mortality, it’s obvious that the aging and frail Reynolds was doing the same thing.
At the start of the film, both Vic and Reynolds seem so infirm that you wonder how he’ll ever make it through the weekend. But, as the film progresses, an interesting thing happens. Before our eyes, both Vic and the actor playing him become stronger. His confidence returns and, as Vic confronts the past, we finally start to see some hints of the old charisma that once made him the world’s biggest film star. As we watch the film, we realize that his body may be weak but his mind is still sharp. We come to realize that Vic now understands that he will die someday but he’s still not going to give up. He may accept his own mortality but he’s not going to surrender to it.
That Burt Reynolds passed away just a few month after The Last Movie Star was released adds an extra poignance to his performance in the film. The Last Movie Star has its flaws. The pacing is inconsistent and, when it comes to Vic relationship with Lil, the film too often falls back on anti-millennial clichés. In the end, the film works best as a tribute to its star. The film argues, quite convincingly, that if anyone deserved to be known as the last movie star, it was him.
Back to School #69: Superbad (dir by Greg Mottola)
One of the great things about the 2007 comedy Superbad is that it has a title that allows for snarky but overworked reviewers like me to come up with an easy review.
For instance, if I disliked Superbad, I could just say, “Superbad more than lives up to its name!” However, since I happen to like Superbad, I can say that Superbad is supergood, supercool, and superfun!
See how easily that works?
Plotwise, Superbad tells a story that will be familiar to anyone who has ever seen a teen comedy. Three guys try to get laid. Seth (Jonah Hill) is the rotund and boisterous one, the one who has a crush on Jules (Emma Stone), who is your basic good girl with a wild side. Evan (Michael Cera) is the sweet and sensitive one. And then there’s Fogell (Christopher Mintz-Plasse), the nerdy one with the thick glasses. Fogell is the one who gets a hilariously bad fake ID, one that tells the world that his name is McLovin.
After Jules invites Seth to a party, he and Evan enlist Fogell to use his fake ID to buy them alcohol. However, as often happens in the type of films, things get complicated. While Fogell is buying the beer, the convenience store is held up. The police arrive and Evan and Seth panic and run off. Meanwhile, Fogell is befriended by the two cops (played by Seth Rogen and Bill Hader), both of whom are incredibly impressed that their new friend has as wonderful a name as McLovin.
(“You’re name’s McLovin? That’s badass!”
And so, while McLovin bonds with his new cop friends, Seth and Evan continue to try to find beer and make their way to Jules’s party….
Superbad was produced by Judd Apatow and it features his usual combination of raunchy humor and sentimental bromance. In fact, it’s such a male-centered film that I’m always a little bit surprised at how much I enjoy it. However, Superbad is a seriously funny movie. The script (which Seth Rogen and Evan Goldberg reportedly starting on when they were 13 years old) is full of great lines and Michael Cera and Jonah Hill make for an adorable comedy team. And then there’s Christopher Mintz-Plasse who takes the character of Fogell to his most logical extreme and then just keeps going. McLovin’s adventures may not be the most realistic or subtle part of the movie but they are still a lot of fun to watch.
Speaking of McLovin and his adventures with the cops, I love the performances of both Seth Rogen and Bill Hader. If you don’t laugh at the way Seth Rogen says, “Oh no! It’s the cops!,” then you need to be worried about your sense of humor.
Superbad is supergood, supercool, superfun, supersweet, and just plain super.
Trailer: Kick-Ass 2 (Extended Red Band)
This past week saw the largest collection of nerd, geek and comic book fandom gathered in one magical place. The place in question is San Diego and the event is called San Diego Comic-Con or simply just uttered in awed whispers as Comic-Con. It is a place that many outsiders have shunned as a place that has no place in good, normal society yet they continue to arrive in larger numbers to ply their products to those they shun. Even this blog has it’s shamers and ignorant individuals who spew insults yet they too continue to visit because deep in their subconscious they know, like those who ridicule Comic-Con and those who attend them with a passion, that they’re the ones out of step with whats not accepted in society.
What does this mean when it comes to the latest trailer for Kick-Ass 2 that just came out of Comic-Con?
Absolutely nothing other than the trailer and the film itself is just another weird meeting of the two cultures. It’s a film that celebrates the ridiculousness and absurdity of the comic book culture, yet it’s one that’s funded by the very same people who insulted the scene just a decade ago.
The first film was a revelation and helped introduced the world to one Chloe Grace Moretz, but it also showed that comic books and films made from them didn’t have to be PG or even PG-13. There was a place for ultra-violence in our comic book films. It also helped bring the name of Matthew Vaughn into the forefront of comic book fandom. While he’s not directing this sequel (he elected to go with X-Men: First Class and we’re all the better for it), he did help in bringing it to life and hand-picked his successor in Jeff Wadlow.
While Kick-Ass 2 is not getting the same sort of buzz from Comic-Con the original film did it is still one film I’m quite interested in seeing just to find out what has happened to our young superheroes and vigilante crime fighters since the last film. Plus, it’s main villain likes to call himself “Motherfucker”.
Trailer: Kick-Ass 2 (Red Band)
2010’s Kick-Ass was one of those films that you either loved or hated. It was a film adapted from the Mark Millar and John Romita, Jr. comic book of the same name that also had a similar reputation of having extreme opposites in regards to how people perceived it.
I, for one, loved the film despite just being “meh” when it came to the comic. Where the film by Matthew Vaughn was a darkly comic deconstruction of the superhero story the comic book that gave birth to it was just an exercise in shocking the readers without working for it. Yet, despite that the film was a hit with both the fans of the comic book and those who didn’t even know it was a comic book. That popularity allowed the film to make enough profit that a sequel was greenlit even before a second volume of the comic book was even started by Millar and Romita, Jr.
Kick-Ass 2 sees the return of both Hit-Girl and Kick-Ass with Red Mist now calling himself The Motherfucker and the film’s main antagonist. The sequel sees Matthew Vaughn return as producer with Jeff Wadlow stepping in as director.
Kick-Ass 2 is set for an August 16, 2013 North American release date with the film premiering earlier on July 19, 2013 in the UK.
Quickie Review: Hot Tub Time Machine (dir. by Steve Pink)
I was a child of the 80’s. I can’t escape that particular information about my past, but unlike some of those of my generation I wholeheartedly embrace the 80’s both the good and the bad and the oh-so-awful. This is why after watching Hot Tub Time Machine (directed by Steve Pink…quite an 80’s name if there ever was one) I have a much deeper appreciation for the things I went through growing up as a teen during the mid-80’s. Rap was just starting to get real popular. Hairstyles, fashion and pop culture was dictated by the emerging juggernaut that was MTV (when they actually played music videos). This raunchy (and it is pretty raunchy) comedy starring John Cusack, Rob Corddry, Craig Robinson and Clark Duke definitely spoke to my inner 80’s teen self.
The film’s premise could’ve been taken straight out of any 80’s direct-to-video knock-off of Back to the Future meets Porky’s. I mean the title itself pretty much explains the premise of the film. A literal hot tub acts as a time machine which whisks the four actors mentioned above to 1986 where they get to re-live a specific night they all spent together in 1986 (well, except Duke’s character who wasn’t born yet). Talk about space-time continuum and butterfly effect gets bandied about, but in the end the whole film was just trying to insert as much 80’s pop culture references as possible within 90 and plus minutes.
The film definitely got the 80’s vibe by liberally putting in boobs and naked chicks. 80’s icons Chevy Chase, Crispin Glover and William Zabka make appearances and John Hughes moments get replicated. I mean shot literally like it was Sixteen Candles all over again. The performances by everyone involved was great and it seemed like everyone were enjoying themselves. Craig Robinson as Nick had me laughing out loud every time he said something.
One thing good I can say about Hot Tub Time Machine that encompasses everything good about it is that it played like the anti-Judd Apatow comedy. While Apatow laughers I enjoy they’ve gotten to the point that everyone tries to make their comedies sound like his. Plus, any comedy that can have Sixteen Candles and Red Dawn references in the same 30-minute span has to be awesome….Oh yeah, it also used Mötley Crüe’s “Home Sweet Home” power ballad over and over.
Review: Kick-Ass (dir. by Matthew Vaughn)
Comic books which have been adapted for the big-screen have had an uneven track record. For every excellent film-incarnations like Spider-Man 2, X-Men 2, The Dark Knight and Iron-Man we get dregs like Elektra, Ghost Rider and Daredevil. The last couple years filmmakers have gravitated towards the deconstruction side of comic book superheroes. Christopher Nolan’s The Dark Knight was as much an action-thriller as it was a meditation on the superhero psyche and mythmaking. Then there was 2009’s Watchmen which tried admirably (though failed in the end) to adapt Alan Moore’s epic deconstruction of the superhero archetypes.
It’s now 2010 and we get the first comic book film of the year. The film is an adaptation of Mark Millar (writer) and John Romita, Jr.’s (artist) ultraviolent comic book title from Marvel’s Icon Comics (their creator-owned publishing line). Kick-Ass was optioned and adapted by British-director Matthew Vaughn and screenwriter Jane Goldman. Unlike most comic book films of the past decade, Vaughn’s Kick-Ass was independently-financed (with help from Brad Pitt and his Plan B Studio) and made which was the best thing that could’ve happened to this project. With a free rein to make the film he wanted without corporate studio meddling, Matthew Vaughn was able to craft a fun and violent romp of a film mashup that collides superhero archetypes and conventions with “real world” grounding.
The story and premise for Kick-Ass is actually quite simple enough to follow. We have high-schooler and avid comic book fan Dave Lizewski asking his best friends and fellow comic book fans why no one has actually tried to be a superhero. The answer he gets from his like-minded friends doesn’t instill hope in his dream. While they are huge fans of superheroes and comic books they stop at actually trying to be one in real-life. Dave, on the other hand, knows that it’s possible for one to try and be a superhero even without powers. He believes that determination, conviction and the need to help those in need would be all that someone requires to become a superhero. With these criteria in mind he sets off to do the very thing he had asked his friends about. He accomplishes this by ordering (for the amount of $99.99) a green and yellow wet-suit and head cover plus a pair of batons and a taser gun. His first attempt at superherodom fails spectacularly as he’s stabbed and violently run over in the street. This near-fatal introduction to the world of superheroes doesn’t deter Dave when deep down even he knows that he’ll get killed if he continues on his quest to become the next Spider-Man.
The story moves on to Dave finally getting his superhero fame by stopping a beatdown of a stranger and having this event caught on a bystander’s camera phone and uploaded said video on Youtube. With this amateur video on Youtube getting millions of hits and views, plus Dave’s own creation of a MySpace page for his alter-ego the world finally gets it’s real-life superhero in the form of Kick-Ass. A name that spurs not just tens of thousands of fans on Kick-Ass’ MySpace page but also a boom in sudden Kick-Ass merchandise in Dave’s local comic book shop. Through it all Dave revels in the attention his alter-ego has been getting even the unexpected attention of the girl of his dreams, Katie Deauxma (played by the lovely Lyndsy Fonseca). An attention born out of a misunderstanding where Katie believes Dave to be gay because of circumstances revolving around his near-death experience of his very first attempt at crimefighting.
On the sidelines of all this we get introduced to the film’s real “superheroes” in the form of Big Daddy (played by Nicolas Cage) and his sidekick and 11-year old daughter, Hit-Girl (Chloe Moretz). We see early on that both Big Daddy and Hit-Girl are the real thing though calling them superheroes would be a stretch since they seem to be more vigilantes who happen to wear costumes and with no compunction at all about killing the criminals. These two are definitely not Batman and Robin (one of many easter egg-like references to comic book characters and storylines). Their story parallels that of Kick-Ass’ but where Dave seems to enjoy just playing at being a superhero and the adoration such role-playing gives him both Big Daddy and Hit-Girl actually have a focus and mission in their own attempts. These are two individuals who believe in the superhero roles they’ve taken on themselves and have prepared and trained themselves well for the violent consequences and ramifications of their mission.
The rest of the film takes the audience on a peculiar coming-of-age journey for one Kick-Ass. As stated earlier he’s pretty much all talk with a rose-tinted view of a superhero’s life. What he has read in his comic books doesn’t prepare him for the reality of actually trying to act and become a true superhero. While writer Mark Millar takes a dim and cynical view of what Kick-Ass is trying to figure out and accomplish (most of the comic’s morality ends up being that bad things happen to good people with the best of intentions), director Matthew Vaughn and screenwriter Jane Goldman take a more hero’s journey approach (sprinkled liberally with foul language and bloody violence). While Dave Lizewski’s attempts to live up to his hero persona of Kick-Ass range from succeeding through luck to failing miserably and at times fatally, by the end of the film circumstances (which have spiralled out of his own control) forces him to finally face up to the fact that if he really wanted to be a superhero he needed to finally do more than just talk and pretend to be one and actually act and perform like one.
This is in contrast to Hit-Girl’s own journey which doesn’t start her off as clumsy and unsure of herself. Instead we see in Hit-Girl the type of individual Kick-Ass wants to be but is unable to through most of the film. Where Kick-Ass suddenly realizes that he’s way over his head once the bodies start dropping in bloody ways, Hit-Girl doesn’t lack in confidence but is in control of every situation she’s confronted with. Whether it’s rescuing Kick-Ass from death (more than once) or finally launching the climactic assault on her and Big Daddy’s focus and reason for being. Hit-Girl is the true superhero with Big Daddy really her sidekick. Everyone else, from Kick-Ass to Red Mist (Christopher Mintz-Plasse), just pretend and play at being costumed superheroes. Hit-Girl is the personification of the female antihero of the recent comics, but unlike most female characters in comic books she’s not the fringe character or the one in need to help. She’s the one who rescues everyone and willing to sacrifice her very life to live up to the ideals (however twisted they may be to the audience) she has set for herself.
Kick-Ass may have been an post-modern exercise in trying to deconstruct and then acknowledge the superhero archetype and themes, but first and foremost it is a very fun and exhilarating rollercoaster ride of an action film. Vaughn and Goldman were able to capture the exciting and fun side of the original comic despite leaving behind some of the meanspiritedness of Millar’s writing. Goldman definitely has an ear for inserting comedy beats into the film to keep the story from becoming too serious and thus slowing down the film. In fact, I would say that Kick-Ass was a very fast-paced two-hour film that would alternate between comedy and action with a tender moment spliced in at the last third of the film. Much of the comedy in Kick-Ass come at the expense of Kick-Ass himself as he stumbles his way through most of the film either out of his league or just pantshitting scared of what he’s gotten himself into. Nicolas Cage’s characterization of Big Daddy also drew some major laughs as he alternated from a twisted version of Mr. Rogers as Damon MacReady to channeling Adam West’s “Batman” when dressed up as Big Daddy.
One thing which Matthew Vaughn has shown with is third feature-length film was the ability to create and shoot some very good action sequences. He even made an interesting stylistic choice to film his action sequences differently depending on whether it was Kick-Ass who was the focal point in the fight or whether it was Hit-Girl or Big Daddy doing the mayhem. Vaughn chose to shoot Kick-Ass’ fight sequences with comedy in mind as the character clumsily fought his way through his opponents. Even when he finally finds his inner superhero in the final fight with his newly discovered nemesis Kick-Ass still fought more on instinct and blindly swinging away instead of actually fighting like an expert. The same couldn’t be said about when Hit-Girl or Big Daddy were the main focus in the action scenes. These two characters were trained killers pure and simple. Their fight choreography was the exact opposite of Kick-Ass’. Hit-Girl’s was especially well-choreographed to show just how honed a fighter and killer Big Daddy’s 11-year old daughter really was even when confronted by over a dozen heavily-armed gangsters and drug dealers. It’s the Hit-Girl action scenes which drew the biggest positive reactions from the audience and rightfully so. Chloe Moretz truly sold the idea of an 11-year old costumed vigilante killer and the film was better for it.
Chloe Moretz star-making performance brings us to the overall performances of the film’s cast. While pretty much everyone who sees this film will agree that Chloe Moretz as Hit-Girl pretty much steals every scene she’s in Aaron Johnson as Dave Lizewski/Kick-Ass also does a very good job in his performance. He anchors the film as the everyman, or everyboy for this film, the audience will gravitate towards. He’s believable as the stumbling and naive teen whose dream of becoming a superhero turns his life upside-down and rightside-up. We can sympathize with his teen need to be accepted and, ultimately, find his identity. It just happens that he find it in the midst of playing at being his dream girl’s fake gay BFF and then as the superhero he finally became in the end. Nicolas Cage, Clark Duke and Lyndsy Fonseca were good at their “sidekick” roles. On the other side of the superhero spectrum we have Mark Strong as mob boss Frank Dimico doing a wonderful job. Christopher Mintz-Plasse as Chris Dimico/Red mist makes for a great counterpoint and mirror to Dave Lizewski/Kick-Ass. But where Dave finally learns to be a hero and take the role seriously, Mintz-Plasse’s Chris never learns the true meaning of what a hero is and just continues to be the wannabe that Dave started off as but finally shed in the end.
Kick-Ass does a better job at deconstructing the superhero world of comic books than Zack Snyder’s Watchmen of 2009. While the comic book version of Kick-Ass will never be in the same league and level as Alan Moore’s Watchmen the film version flip-flop and shows that sometime the simpler story makes for a better film. Vaughn and Goldman did a great job in adapting the darker and more nihilistic writing of Millar. But while changes were made to allow the story to be more accesible to the general public, the film still manages to keep the spirit of the original source material intact but minus the cuckolding the story’s intrepid hero gets hit with twice to end the story.
Even with the controversy over the Hit-Girl character and of Chloe Moretz protrayal of this blood-soaked and foul-mouthed killer it shouldn’t diminish the fact that Kick-Ass set out to be both thought-provoking, fun and entertaining and succeeds in accomplishing all three. While the film has flaws they’re not so glaring or even distracting that they take away from one’s enjoyment of the film. Even for an “origins” tale Kick-Ass manages to escape being too overly reliant on dialogue to explain everything that’s going on to the audience. The fact that a sequel was already being talked about even before the film’s release shows confidence in both Millar and Vaughn that there’s further adventures and stories to show and tell about Kick-Ass and Hit-Girl. I, for one, will be there to see what they will be up to next.
Through the Shattered Lens 