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Kick Ass Movie Full ~REPACK~

With Kick-Ass, the book's just out and now the movie's out six weeks later. And I think that's the way things are going to go now, because to go to Marvel's B and C-list characters and try to get movies out [of] them; what's the point of that?

kick ass movie full


In the original comic-book, Big Daddy is characterised not as an ex-cop, but as a former accountant who had been motivated to fight crime by a desire to escape from his life and by his love of comic books. In the film, his purported origin and motivations are genuine: writer Mark Millar stated that the revelation about Big Daddy's background would not have worked in the film adaptation and "would have ruined the movie."[23]

Vaughn had a little trouble adapting to film, as the film had no studio. The big studios doubted the success of an adaptation as a violent superhero, which made the film be independently financed, but this gave him the freedom to make the film the way he imagined, without having to worry about high-censorship. Vaughn believed enough in the project to raise the money himself.[26] Christopher Mintz-Plasse (Red Mist) said that the creators of the film were wondering whether a distributor would pick up the movie. On the set Vaughn jokingly referred to Kick-Ass as something that was going to be "the most expensive home movie I ever made".[27] On 18 August 2009, it was announced that the film had been acquired for distribution in the United States and Canada by Lionsgate.[29]

In the United Kingdom, The Guardian gave the film extensive coverage by several of its critics and journalists.[45] Peter Bradshaw gave the film 5/5 stars and called it an "explosion in a bad taste factory" that is "thoroughly outrageous, jaw-droppingly violent and very funny riff on the quasi-porn world of comic books; except that there is absolutely no 'quasi' about it."[46] Philip French, writing for The Observer, called the film "relentlessly violent" with "the foulest-mouthed child ever to appear on screen, [who makes] Louis Malle's Zazie sound like Cosette" and one "extremely knowing in its appeal to connoisseurs of comic strips and video games."[12] David Cox wrote an article published in The Guardian, saying that the film "kicks the c-word into the mainstream [...] has inadvertently dispatched our last big expletive."[47]

Chris Hewitt of Empire magazine gave the film 5/5 and declared it, "A ridiculously entertaining, perfectly paced, ultra-violent cinematic rush that kicks the places other movies struggle to reach. ... the film's violence is clearly fantastical and cartoonish and not to be taken seriously."[48]

Other reviews were more negative. Roger Ebert found the film highly offensive and "morally reprehensible", giving it one out of four stars. He cited the coarse language and violence, particularly the scene in which Hit-Girl is nearly killed by D'Amico. "When kids in the age range of this movie's home video audience are shooting one another every day in America, that kind of stops being funny." Ebert's only notes of praise were for the performances of Cage, Johnson and Moretz. The movie made that week's "Your Movie Sucks" list of one-star movies.[53]

"Kick-Ass" lives up to the promise of its title, but it's better than its title, too. It's not an innocuous comedy. It doesn't talk down to audiences. It brings together several popular strains of contemporary moviemaking and combines them into one big, shameless, audacious, compulsively watchable, irresistibly likable piece of pure entertainment.

It's a comic book action movie, but it's not just that. It's also a teen comedy, with the honest outrageousness of an "American Pie" or a "Superbad." At the same time somebody has been watching Tarantino movies, because "Kick-Ass" has the crazy outsize, cartoonlike violence of a Tarantino film plus the knowing sense of humor. There's a serious intelligence behind this picture, and that's especially welcome in a genre usually exploited to attract people either too young to know better or too dumb to care. Intelligence equals risk. It means playing with lucrative formulas in pursuit of an actual vision. "Kick-Ass" takes chances and succeeds.

"Kick-Ass" is the third film from director Matthew Vaughn ("Star Dust," "Layer Cake"), whose movies, though very different, have in common a firm command of story. Starting with a high school kid who dresses like a superhero and calls himself "Kick-Ass," the movie's world expands. The media get involved. Then the Internet. Organized crime is drawn into the story, and so are Nicolas Cage and Chloe Moretz as a lethal father-and-daughter duo who, in their superhero incarnations, go by the names Big Daddy and Hit Girl.

Yet however grand and fantastic individual elements may become, Vaughn and Jane Goldman, who collaborated on the adaptation of Mark Millar's comic book series, keep the personal relationships grounded in recognizable reality. For example, the ridiculous friendship that develops between Dave and the girl of his dreams, because she thinks he's gay. Or the family dynamic between the suave, ruthless mobster and his wonderfully nerdy son. Christopher Mintz-Plasse, who achieved screen immortality as McLovin in "Superbad," plays the son, and with his cultivated aura of goofiness and misplaced self-satisfaction, he's made for the screen.

Before Deadpool or Harley Quinn were dropping f-bombs and violently killing the bad guys on the big screen, R-rated superhero movies were a rarity. Sure, there was the "Blade" franchise, but you weren't exactly seeing folks in spandex and capes in adult-themed movies, and they definitely weren't this vulgar. The 2010 comic adaptation "Kick-Ass" blew people's minds with its brutal violence and profanity, following young vigilantes Kick-Ass (Aaron Taylor-Johnson) and Hit-Girl (Chloe Grace Moretz), along with Hit-Girl's Batman-esque father, Big Daddy (Nicolas Cage).

While Vaughn is certainly right that "Kick-Ass" helped usher in the current era of R-rated superhero goodness, it's hard to tell if he'll be able to shock people as much as he did back in 2010. It's only been 11 years, but audiences have grown significantly more used to the kinds of hijinks that would have caused a stir when the first movie was released. Vaughn has been promising more "Kick-Ass" for a while now, but hopefully, we'll get a chance to see his mind-blowing new take some time in 2024.

This wiki has all you need to know about the Marvel comic and movie by Mark Millar and John Romita, Jr., as well as Kick-Ass 2, the sequel to the original Kick-Ass film. Please follow the List of Wikia guidelines and Code of Conduct. By making any changes on the site, you are by default agreeing to these terms, including Wiki Bureaucrats, and Wiki Officials.

Update: There hasn't been any worthy announcements for a while and therefore I haven't updated anything. My life has been too preoccupied to give this wikia any attention, but I am committed to safeguarding and improving content and interacting with our supporters on Twitter. We've got a small surge of contributors in the past 5 months, but more vandalism if anything, which I have swiftly corrected. I should also note that we're not in anyway affiliated with any "Kick-Ass News" Twitter or Facebook accounts that promote or announce news on Kick-Ass content. Please visit Mark Millar's Twitter page for any new official and reliable content. Be careful at trusting news from third parties as there is a lot of mixed news floating around. There is officially no Kick-Ass 3 or Hit-Girl movie planned anytime soon so don't get your hopes up for any new content for a long time.. if any. The Administrator

"Kick-Ass 2" is one of the year's worst films. I would like to get that pertinent fact out of the way before we discuss it properly. But for those with horrid taste in cinema, questionable politics, and terribly short attention spans, i.e. the target audience of this movie, I feel it is my duty to say: Don't see this film. Do something else. Enjoy the final days of the summer. Solve a crossword puzzle. Call grandma. Do whatever you like. But don't see this reprehensible movie.

Directed by Matthew Vaughn and based on the work of former enfant terrible of comics, Mark Millar, 2010's "Kick-Ass" was a transgressive take on the superhero concept, exploring a world where comic book nerds of various ages and intellects donned skin-tight costumes to fight mobsters. The film's philosophy and its approach towards justice was problematic, but Vaughn had a deftness of touch that propelled the story. Equally interesting was the pairing of Nicolas Cage and the then pre-teen Chloë Grace Moretz as Big Daddy and Hit-Girl, respectively. This father-daughter team of benevolent psychopaths was a highlight not necessarily because of the characters, but because of the obvious quirkiness of the actors and their chemistry. On the whole, though, "Kick-Ass" wasn't a very good movie.

A further subplot involves Chris D'Amico (Christopher Mintz-Plasse), former sidekick to Kick-Ass, who has gone into the family business after Dave murdered his mob-boss father in the previous film in a particularly spectacular manner. Chris refashions his mother's S&M gear into a costume, and reinvents himself as the world's first super-villain, adopting a name which, in the '80s, would have been dubbed on British television as "The Melon Farmer." These three plots plod along in a tale of vengeful one-upmanship to eventually converge in one of the least interesting action scenes of recent times.

At its most basic level, the film feigns concern towards how revenge can be a bottomless pit. Violence doesn't merely escalate in the film, it consumes all. The level of terror multiples geometrically, as one death begets two, and then four, etc. Millar's original comic is considered by halfwits as a post-structuralist work, but this sort of reading is only valid for armchair proponents of even the real-world history of violence being its own fiction. Of course, this is all rubbish. The uneven tone of the violence contributes to the confusion. During one memorable scene (for all the wrong reasons), a gigantic ex-KGB agent called Mother Russia dispatches ten police officers in increasingly violent ways as a sped-up, trance version of the Tetris theme plays. I am not sure what reaction Wadlow was going for, but I was sickened. This did not make me reassess my position towards vigilantism or violence, seeing as I am not a sociopath. I don't need a superhero film to tell me that kicking the living crap out of people is wrong.


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