SPLICED Magazine Issue 01 Oct/Nov 2013 | Page 121

SPLICED MOVIES / ISSUE 01 REVIEW / Kick-Ass 2 Kick-Ass, the revolutionary creator-owned comic that Mark Millar launched with artist John S. Romita Jr. in 2008, challenged curious readers with one simple question: “Why has nobody ever tried to become a superhero?” the same name the film has been toned down in it’s portrayal of the graphic and often insane violence splashed across its pages. Mix that in with the straight up comedy that Wadlow has written into the script and you have a strange juxtaposition that gives you the feeling that the movie doesn’t quite know what it wants to be. Even with the vulgar language, offensive situations and interactions the film still feels toned down from the original source material, which isn’t a bad thing – there are often ludicrous moments in the Kick-Ass graphic novel that simply wouldn’t work on screen (Hit-Girl’s cocaine addiction, for instance). That being said, the film remains quite close to Millar’s initial interpretation of the characters and tone, unlike that “other” Millar movie adaptation Wanted, which ended up being a complete bastardisation of great source material from the comic. Make no mistake, Kick Ass 2 is a fun, violent and offensive ride that fans of the first film will probably enjoy at face value, but remains bitter-sweet when compared to the comedy genius of Vaughn’s Kick Ass. As a sequel, it unfortunately falls short. A great performance by Moretz, echoed from the first film, carries this one. A decent performance from TaylorJohnson, albeit a little ‘going through the motions’, to the utterly cringe worthy/ hilarious portrayal of The Motherfucker by Mintz-Plasse add to the entertainment and silly offensiveness, but ultimately you’ll most likely forget about it in a week’s time.? 6 Verdict A decent enough follow up to Vaughn’s Kick Ass, but a little lacklustre. Comedy, vulgarity and offensiveness ensue in this sequel, with Moretz being the stand out performance. Stay till after the credits for an extra scene. 121