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Kick Ass , a cry from the heart that screams out of the meeting. Yet another superhero movie for some, iconoclastic independent project for others, Kick-Ass has from the beginning of its publication in the U.S., the wind in their sails. Easy, when the foundation of the project were Mark Millar and John Romita Jr., missed two superstars of the comics by Mark Millar has signed with Marvel Civil War crossover , then project the most guts of the publishing house after which Captain America is killed, leaving orphaned long gallery of Marvel characters. It is also the man behind Wanted at Top Cow (unsuitable for film, we talk about here ) and the miniseries Old Man Logan Wolverine in which a retired wanders in a post-apocalyptic America. In terms of reputation, John Romita Jr. has nothing to envy of its perennial association with Marvel, where he designed Spider-Man continuously for years. The artist to feature very square, chain projects and is never stingy with executives simply beautiful, making it very popular with fans.
Announced at great fanfare, produced independently with the means they have at their disposal (Millar published in the pages of comics list of comic shops that have supported them), Kick-Ass # 1 out early 2008 and immediately a hit. It is good to be called Millar and Romita Jr. at this time. At the time of the second issue, while racing, there is talk of a film, the rights of the comics about to be sold short, it's madness, and especially a bang magnificent destination all potential artists who intend to succeed. With its new characters and its plot so simple that it becomes perfect (and if you, in your filth normality, decided to become a superhero), Mark Millar let the ink flow and composed with his friend late John Romita Jr., called home Marvel to sign a few arcs of Spider-Man comes out then (and still) paced three issues per month (called the bow back New Ways to Die in Amazing Spider-Man # 568 and been published in France).
It was only in March 2010 that was released on 8th and last edition of the first arc Kick-Ass , barely a month before the film, shot in parallel and based on the comic book - with some differences. We have not seen closer collaboration between two such different media: left to push the envelope, the U.S. hardcover compiling episodes 1-8 of Kick-Ass fate at the same time as the movie, and it is paid the luxury of showing it to the screen in one of his last footage - you guessed it - set in a comic shop. The circle is complete.
Kick-Ass # 8: I, not you. * Some spoilers below for those who have not seen the film - and some indications on the many differences with the comics *
impossible not to succumb to the lure charmer Kick Ass from its first moments: music exciting mat (Prodigy), close to the comic storytelling with inlay of BD mark time, and above all, great work on making colorful photography to possible component with a shadow resembling a successful inking of the characters. The very fact that the external packaging of Kick-Ass is an undeniable beauty, fashioning a green-haired for a film backfiring.
Very quickly, Kick-Ass finds its legitimacy in multiple references by its context comic-book movie , produced independently, supervised by its creators and leaving a landscape destroyed by film adaptations of comics called adult eyeing the side of the tragedy (The Dark Knight ), sometimes bombastic ( Watchmen) and weighed down with endless variations. Distancing himself happily into the problem pertaining to the real most banal Kick-Ass timely for us to paste a good frigged with the awkwardness of the first (which makes bleeding)
Torn between teen- gritty comedy and film superhero, Kick-Ass is a major asset in the actor Aaron Johnson, playing Dave Lizewski, a bit rebellious teen lambda by his plight. Far from Tobey Maguire who ended up being bland in Spider-Man , dug up again for the geek camp Kick-Ass is nice to see even the scenario focuses less on his procrastination than does Sam Raimi with his characters; Geeks are the heroes of the most anticipated movies this simple contradiction: no one suspects them, making them capable of anything. As if the polite indifference (or not) that gives them pushed them to rush on the paths of adversity to finally have something against which to react. In the case of Kick-Ass is an opportunity not to miss.
In fan-boy convinced aware of the weight of his elders, Matthew Vaughn insidiously takes over the course of the superhero as friendly all universes, Spider-Man , applying its codes generously dusted by Sam Raimi: Geographically , with home hero, clearly located in Queens as the refuge that was home to Aunt May to Peter Parker. From the halls of high school, racketeering, pretty girls to ignorance ice we find ourselves in a field marked off the bat Later, even the scene of the first flight (jumping between buildings) which is incorporated in its entirety, except that Kick-Ass poses its problems from its generic : Our hero has not been bitten by a radioactive spider, is not flying armor custom made (follow the gaze), has no magical powers: It's just a teenager embarked on a suicidal trip and that has everything to lose by playing sly devils in suits. Thereupon, the film is not afraid to be ridiculous in costumes and punchlines of morons.
If Mark Millar is primarily a wise guy who knows how to play skillfully codes free comics to shock, he developed an interest in about Kick-Ass (the comics) constantly questioning the role of voyeur of his readers: impulse see his hero being beaten, the writer responded by making a series of outrages worse thereafter. Millar constantly provokes his audience with his geek-friendly picks , and is even fully integrate the concept of comics in his book with the back-story Big Daddy, absolutely shocking and criticizing the excesses non-standard.
If the film is a freedom your fantasy by its independent status (frica, do not push), the craziest comics is not found in the film of Vaughn. Curiously, the film presents some situations brightest comics for rework sauce blockbuster U.S.: pushed to its limits, the film is subjected to the whims of decency and try to find the best casual humor, otherwise a disturbing violence treated as a joke (SPOILER : Among the significant changes, note the relationship between Dave and his "girlfriend", the motivations of Big Daddy and the final climax, off-topic).
Ultimately, the most troublesome is its fundamental tone breaks between fun of discovery (the wanderings of Kick-Ass, apprentice vigilante) and horror of reality. But embedded in his clanking soundtrack and fun calling it now, his humor sometimes ill-posed and artistic demands, the film loses sight of its narrator, the hero himself, embarked on his adventure (intelligence scenario, the young Kick Ass-American Beauty quote to evoke the narrative effect beyond the grave). Despite the time limit, Vaughn and prevents its assembly to ask an atmosphere beneficial to the subtlety needed to capture the changes of tone of his characters about what they live. This is particularly unfortunate that Figures have known what it takes to raise the emotional quotient of the film, the girlfriend of (betrayed) Hit Girl (manipulated), not to mention kick-ass from stage to that of hero apprentice vigilant hardcore, completing the film in an apology glaucous similar behavior but difficult to imitate.
trying too hard to make time to catch her in his fury to the reference amount and its patchwork with varying degrees of success, Matthew Vaughn is trying to do Tarantino (the climax is its use of a theme Leone) but is found more often to the Guy Ritchie - not a penny in for subtle its assembly, the effects of style and his tendency to always try to add a quickfire film from beginning to end, despite its comfortable 2 hours of footage. From baston youtubee badly filmed as dispensing with the terms of relaying information to spectators last gasps of Hit Girl deified by the camera (the black and white shots in slow motion), the framework is gradually filled with a package of fireworks not necessarily required and that little by little they work.
However, Kick-Ass remains a complete entertainment and quite well managed in its excess, calling for better result. The other change
awkward with the implementation in this new medium is the simple fact that Kick-Ass as a character is seen pushed to murder. In cold blood for revenge and put an end to history. With this simple change, the young Dave Lizewski here loses all humanity and prevents the return to normal of his character, trapped in his role as avenger and especially fugitive, forced to live with the weight of guilt that Peter Parler could bear. Ideologically, the film's ending is a real problem, dropping the psychologies of each and desperate to get away from the horror comics. The film then takes his ease with a second degree fun, defuses all the questions generated by the original script by Mark Millar, and embraces the excess specific film, influenced by the comic-book: one is surprised to realize that comics become more credible than a movie, so that a BD is limited only the imagination of its writer and illustrator of his drawings (in terms of simplicity devilishly effective Kick Ass # 8 arises there).
Visibly uncomfortable with his "only" 30 million dollar budget, the film is lost in a close battle on semi-articulated, glorifying violence pre-teen and almost ridiculous in his commitment to do too loser any credibility previously accumulated. At the last surge of violence in a tower of Manhattan, one is tempted to excuse himself from the film, ultimately defusing film every effort to bring us back to normality of the real (remember, the initial purpose of the film ) and its brutal confrontation with the world.
The twist of the comics (Red Mist is the son of the villain to kill), impossible to regain status in the film without taking the public for fools, forcing the script to rethink this element in the including it calmly in his narrative, as the bias of each film and leads also in sequence more or less necessary (the warehouse), blowing up the film we all make nice gallery Tronches not possible and completely British Film: Mark Strong in between big final boss level and Jason Flemyng in valet the unfortunate fate is a part of the regulars Guy Ritchie (pal Matthew Vaughn) who type embedded, and provide a stamp of absolute coolness feature.
not find better than Nicolas Cage Camp Big Daddy. Simply because after disastrous career where he played with more or less credible a hero saving the setting, or at least trying to do (Alex Proyas castrate the current path in Predictions ), the actor has taken on an empathic just perfect. Tired, his hair still a mess and wearing a cardigan old father, Nicolas Cage is in the role of Big Daddy one last burst of heroism misplaced in disturbed guy looking to do well by enrolling her daughter in a war who do not watch. Propriety
film and new audiences (just crazy geek) force, the scenario lightens the truth about the back story of Big Daddy, making everyone on earth Kick-Ass # 7 ... The film loses in ferocity but biting offers beautiful moments of bravery to her character failed, anti-hero and beautiful wreck losing battle.
Its very touching relationship with his daughter, Chloe Moretz, is one of the successful points of the film. Stealing the show with his role as Hit Girl, the actress is downright impressive, ornately between language (the word "cunt " impossible to go to the movies in 2010 is well represented) and cuts in good standing for the next subversive film. The first scene showing the father and daughter foreshadowed color, with a complicity with the side edge literally vigilant animating the dynamic duo echoing directly to Batman and Robin, and more expeditious.
short, successful challenge for Matthew Vaughn, who at the time the ship landed during X-Men 3 , address the finger to the industry and gets the license for Marvel to reboot everything and staging X-Men First Class next year. Kick Ass 2 is already announced for release in 2012, the time that Mark Millar looks at the second arc of the comics, John Romita Jr. and astounds us once again of his features so precise (the film already greets through a scene drawn by him, in addition to portraits painted by Nicolas Cage).
Matthew Vaughn continued his career little worried after the British gangster movie ( Layer Cake with Daniel Craig before 007) and the magnificent Stardust, fairy tale adapted from a novel by Neil Gaiman, with Claire Danes in the role of a star.
Until then, the mantra is simple: SHUT UP. KICK ASS.
- The first volume of Kick-Ass was released in France last March at Panini Comics, compiles the first 4 numbers and costs 11 €. The scam calling for a Volume 2 at the same price which should not really decide French readers to throw it, especially if they have already seen the movie ...
- The hardcover cost him U.S. $ 25 and compiles the whole arc, consisting of 8 numbers. It is in English is required.
