Rewind Review: Kick-Ass

Introduction

As those who know me, and if such a person exists, cyberstalk me, know I created this blog after writing on another site, which shall remain nameless, for a while. The point is, I have material sitting around waiting to be re-used on occasion I will re-post them here. Some of those articles or reviews may have been extemporaneous at the time but are slightly random now, hence the new title and little intro, regardless enjoy!

Kick-Ass (2010)

Kick-Ass had been touted by some who had seen it prior to its release as the next generation of comic book movies which is a lofty moniker to live up to and some have fallen woefully short of this expectation. Kick-Ass not only reaches this lofty praise but fair exceeds it on many levels. It is a film that takes the subgenre in a new direction bravely and boldly.
One of the biggest contributing factors to this film’s overwhelming success is the outstanding performance of its lead cast. Aaron Johnson, as the title character, delivers what is likely to a be a star-making performance. While that ability has always been apparent he has yet to have such a showcase as this. His American dialect is not only unique but completely bulletproof such that many who have recently seen him interviewed were completely unaware that he is, in fact, British.
Probably the second biggest contributing factor of the film’s success, in terms of casting, is Chloë Grace Moretz as Hit Girl. While she too recently proved herself in a smaller role in the film Diary of a Wimpy Kid she absolutely breaks out here with a film that was released later but clearly shot first. In one of the better plot devices the film employs the title character/protagonist/narrator is the least skilled of the would-be real life superheroes and it is Moretz as Hit Girl and Nicholas Cage as Big Daddy who give us the audience the jolt of the graceful, intelligent, funny and nearly infallible heroes we expect. Yet as seeing this film will prove as the events are taking place in the real New York City and not Gotham there can be grave consequences for these vigilantes.

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Nicolas Cage delivers a performance in this film that once again is making me eat my words to an extent. Last year in the marginally bad film Knowing I lambasted Cage. It seems he took that film, and many in the action genre (Many of which are Bruckheimer-produced) off. It’s not an excuse for his line-ready badness at times but just a fact because in this film he was, dare I say it? Glorious. And this coming on the heels of The Bad Lieutenant: Port of Call New Orleans. He had something here to sink his teeth into and went at it full boar and created a superhero alter ego who seemed to be the bastard child of Adam West and William Shatner and was so funny he challenged my ability to control my Coca-Cola filled bladder.
Last but certainly not least in deserving a mention is Christopher Mintz-Plasse. While he will never be able to shake being McLovin’, nor does he really want to, he was starting to run the risk of being pidgeon-holed in a very small subset of roles with this he is still in the nerd vein but he did get to stretch a little bit and does play a character with dimensions, a struggle, an arc and ambition. In another fantastic twist, which shouldn’t be that hard to do, Kick-Ass gives us the origin story first as opposed to other comic franchises who insist on backtracking towards them in spinoffs, sequels and/or reboots.
Another major element this film benefits from is the implementation of verisimilitude. By constantly giving you reminders that this film is different from others in its ilk in as much as these are real people and not aliens beings or billionaires with fancy toys the stakes are raised greatly and almost anything can happen.
It is this very verisimilitude that allows the film to hit many different notes of emotion throughout the film and also play with tone going from comedy to drama to suspense with ease and in the blink of an eye.

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The facile nature of bouncing from tone to tone also allows the pace to stay steady such that when the pedal hits the metal and the film is driving towards the finish you are hooked and literally at the edge of your seat.
Another aspect in which this film separates itself and makes it somewhat different is that it also seeks to please by having our heroes have good kills. Generally this is a notion of the horror film genre when you know that the body count will be high so it’s a matter of creatively disposing of victims not so much the fact that they do die. The same applies here in this film where there are many henchman to work through before getting to the ultimate villain and the film really thought about how to fluidly and creatively have these obstacles eliminated.
One sequence towards the end where Hit Girl is in the enemy’s lair is not far off the finesse and prowess of the massive fight scenes in Kill Bill but like with that film to reduce this film to a massive bloodbath would be an injustice.

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As I frequently say, and will write on shortly, I am not one for hyperbole so take the following statement as an apt comparison, due to the fact that Kick-Ass ends with Red Mist (Mintz-Plasse) reciting a line from the following film: I, not being a comic book film completist by any means, have been waiting for something like this since Batman and it is good to know that it can happen and that the exalted feeling I had leaving the movie theatre is not reserved for childhood.
10/10

Top 15 Films of 2010

This like my 2009 List is a repost and has been added here virtually without change from its original appearance elsewhere.

15. Entre Nos

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With an election and events that would steal headlines towards the latter part of the year it is no wonder that the illegal immigration debate has hit the back-burner in the socio-political landscape of the country as we saunter into 2011. However, as a nation that once permanently etched that it sought the world’s “tired, your poor…huddled masses yearning to breathe free,” it is a persistently relevant debate whether it is treated as such or not after all we are a land where “all men are created equal” but certain “men” have always had to fight to prove it.

It is taking such grandiose and abstract ideas and incarnating them in narrative where you will find great fiction. This is what triple-threat Paola Mendoza does so deftly in this film wherein a mother and her children come to the US after their husband/father only to be abandoned in a strange land and needing to struggle just to survive.

14. Secretariat

Secretariat (2010, Disney)

I have my very own personal bugaboo with horse racing movies. Typically, there comes a point where in an imaginary but definite line is crossed and the purity of just riding and the wild beauty therein takes a back seat to the grueling nature of the competition. The sport is dangerous, as are most, and creates a moral gray area as it is hard to know whether a horse really wants to run or not. However, by all accounts the story of Secretariat is a different one. The horse was one of a kind: part animal, part machine. So that stumbling block is cleared. More impressive is that as a spots fanatic I am seeing a movie in which I already know a majority of the story, and of course those who have seen enough movies can surmise, but this film still manages to suspenseful- what an amazing trick.

Lastly, of course, the story really makes a connection due to its characters. We learn their circumstances and see their journey more so than the horse’s meteoric rise, we become fully invested in them and their plots as much as the Triple Crown pursuit.

13. Easy A

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Wit is a rare commodity in film these days, wit in combination with an actual point being made is even more rare. If you combine that with a film that both pushes narrative forward with 21st century storytelling devices like webcasts but is also reverential of classic films like those of John Hughes and the original, not the Demi Moore, Scarlet Letter then you really have something.

Combine that with the star-making, dead on performance of Emma Stone and you’ve got something special that is one of the best films of the year and without question the best straight-up comedy.

12. Le Petit Nicolas

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This, for you my dear reader, will likely be the one of the most unnerving selections on this list because it is likely you have not heard of it and gaining access to it will prove rather difficult.  To the best of my knowledge this film didn’t see US release in either 2009, the year it was released in France, or in 2010.

I only managed to nab a copy off Amazon from a re-seller in Canada where it had already hit DVD. This film does a number of things quite well: it tells a tale of childhood whimsy without being insipid or condescending. It manages to tell a tale of naive misunderstanding without getting ridiculous and all the while remaining funny and clever throughout.

It also seems to be an adaptation in the proper spirit, while I am unfamiliar with the books upon which this story is based judging by the Pierre Goscinny I am familiar with, Asterix, it seems very much in keeping with his tone. It is a film that is absolutely delightful, a word I rarely use, from start to finish.

11. The Red Riding Trilogy

Red Riding: In The Year of Our Lord (2009, IFC Films)

OK, so here’s were scoffers can have more fun while I know this makes it technically a Top 17 list bear with me: The Red Riding Trilogy was a project released on British television in 2009, however, it hit US theaters in Spring 2010 and Netflix later on. So that and the way it’s told and shot qualifies it as cinema and its release date in the US makes it eligible for this year. As for the three films? Well, part three set in 1983 is the best of the installments, however, devoid of having seen the other two it is likely to be highly unintelligible. The films are highly co-dependent of one another, therefore to separate them is next to impossible. As a unit they stand as one work, they are sold as such therefore I evaluate them as such and give them one and not three spots on this list.

It is a tale of murder and intrigue of the highest artistry that requires you to stick with it and begs you to follow it through to its harrowing and artistic conclusion.

10. My Soul to Take

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Being a fan of the horror genre is a bit like going back to a well too often. You visit it repeatedly in hopes of finding refreshment but you usually come up empty. I consider myself fortunate then to have in the last few years have found films I have deemed worthy to place in my list.

My Soul to Take is a bit of a throwback by director Wes Craven but what it does do is tell a story that is deceptively involved, not dumbed down and an unpretentious whodunit. Furthermore you get within this film a teaser beginning that is rather than the highlight of the film a tone-setter for the ever-increasing tension level of the tale.

9. Machete

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Here we are again with the same theme, illegal immigration but a vastly different variation. Robert Rodriguez absolutely delivers on the promise that was teased at in the Grindhouse double-feature a few years ago. Not only is Machete as portrayed by Danny Trejo every bit the cinematic badass you want him to be, on par with Eastwood and Bronson in their most iconic works but it is also deliciously funny both because of the writing and intentionally cheesy production values.

You get in this film hilarious one-liners, insane plot devices and extraordinarily didactic dialogue which all suits the tale perfectly. It was likely the most enjoyable film-watching experience from start to finish that I had last year.

8. Waiting for ‘Superman’

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George W. Bush once asked the very important question “Is our children learning?” After watching Waiting for ‘Superman’ it’ll become quite clear that no, our children is not learning. However, this film is not propagandist. It has quite a few citations to back up its claims that the educational system in America is fundamentally broken. However, even more important than that in my estimation is that it also becomes a very involving emotional experience. While your intellect is often stimulated as you learn ugly, inconvenient truths you never heard before you are involved in the story as you learn the plight of educators who fight for change, children caught in the system and parents who are seeking and hoping for the best for their child.

7. Scott Pilgrim vs. the World

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This is without question the best and most artful mash-up style film that you will likely see for quite some time. As I cited earlier if you’ve ever wondered what mixing comics, video games and film would be like the answer can be found within this film and therein lies the rub: you’ll either love it and walk away enraptured like I was or your eyes will hurt and your brain will boil over in your head and you’ll die- or something like that.

It’s the epitome of a go-with-the-flow type movie: it has either sold you on its strange universe within the first 10 minutes or you’re never buying. It’s a film that’s unafraid and many times that is the absolute best kind to watch whether you like it or not.

6. Kick-Ass

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The superhero movie may be on its way, if its not already there, to supplanting the vampire film as the cinematic dead horse that just keeps getting beaten. It is at the very least impending if you’ve looked at the Summer 2011 slate. With that in mind it makes this last gasp even more wonderful and marvelous.

I have seen it again since its initial release and I still liken this film to the original Batman, meaning it absolutely earned its closing line and lest we forget that Batman was made back when everything Tim Burton turned a camera towards turned to gold so it is high praise indeed.

While much less ballyhooed than Emma Stone, Aaron Johnson no doubt had a breakout kind of role here, his buoyed by the fact that he had quite a few 2010 releases to follow.

This is a film more so than most that deftly and fluidly moves between emotional notes with tremendous ease and propels it to this spot on the list.

5. City Island

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I like my independent films to be un-convoluted. It seems as if sometimes independent filmmakers take that mantle to mean that they need to tell a certain kind of story and not just their story how they want it told, which is supposed to be the idea. City Island most definitely has the right idea and from start to finish just consistently makes decisions that are true and accurate and not merely for shock value.

It is a personal and personable tale which is also a somewhat comedic twist on a Greek tragedy in parts. Even with some of the plot devices employed there is always a humanity and understanding behind all the actions the characters take.

It is proof there is room for real people, real acting and great narrative all at the same time in the same film.

4. The Ghost Writer

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To elaborate on a point I made in my initial review students of film, whether they seek to critique or make films, or just generally like films, should watch this so that they might better understand the true meaning of the term ‘Hitchockian.’ This is a word you hear far too much. It’s almost akin to saying that anyone who drives a car in the fast lane is like (insert favorite race car driver here). Just because you are attempting something in the same vein doesn’t make it the same or as good as. Few and far between are those who can try to impersonate Hitch and come anywhere close.

This comes very close, dangerously close and note that it’s Roman Polanski who does it and not some anonymous who has a a resume littered with straight-to-video releases. The intrigue, tension and at times surreal atmosphere of this film are hard to match and this truly stands as one of the best of the year and if its the last we see of Mr. Polanski, what a way to go.

3. The Chronicles of Narnia: The Voyage of the Dawn Treader

Review- The Chronicles of Narnia: The Voyage of the Dawn Treader

The first word that came to mind when I completed viewing the latest Narnia was “glorious.” Which I stand by but perhaps triumphant would be more astute as the film lived up to my hopes and not my expectations, and there was a wide gulf between the two.

Sometimes going through a Top Films list can be a bit like going through a new land with a very crudely drawn map and it can be difficult to judge through various similar compliments what the lay of the land is until you hit a signpost (read number) the way the list breaks down, for this year anyway, is: 15-11 is the third stratification, amongst the best of the year but not quite up to getting a BAM Best Picture nomination, which is reserved for the top 10. Then from 10-4 is the second tier, the elite films. From this point forward you have the crème de la crème.

What may also be interesting to note is that Narnia once again had to overcome the Potter hurdle. This installment was released just after the Potter series did about as much as you can with a truncated tale. Yet Narnia trumps it again, which I likely would not say for 2 of the 3 books but would for the movies and therein lies the beauty of adaptation.
 


2. The White Ribbon

The White Ribbon (2009, Sony Pictures Classics)

Had I not already taken a few leaps of faith I may have been tempted to label The White Ribbon #1A, however, that does not seem fitting. Secondly, since I am already in disclaimer mode: Yes, I am aware that this film was up for Oscars last year, much to my befuddlement it walked away empty-handed.  It qualifies for 2010 to my mind because I, being but a voracious moviegoer do not get the free, advanced screening treatment that many a critic/blogger do, so unless I owned stock in Amtrak I can’t be on a train up to New York every weekend for every limited release. Thus, The White Ribbon only hit Philadelphia, where I first saw it, in January of 2010.

With all its BAM Nominations how is this film #2? Partially the nomination process is a bit mysterious to myself I try not to consciously keep a running tab of what film has what number of nominations and just decide category-by-category. The acting without question is virtually unparalleled by anything I’ve seen in a long, long time such that it was a contributing factor to the birth of new categories. It is also one of the best examples of how chilling and effective a film can be and also how much foreshadowing can be done (paradoxically to things we never see) without answering questions but instead leaving doubts.

It’s not that The White Ribbon does anything wrong per se, in fact, I’ve seen it three times and only saw my top film the once. They’re two very different films and each has their place and their point to make. Both are a tribute to this class of film and both will have a resonance cinematically and otherwise it’s just a matter of picking your poison so without much further ado the best film of 2010 is…

1. Inception

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You will rarely if ever see such an audacious combination of high concept and highbrow. Typically, a film dealing in dreams is too busy being aloof to tell a coherent much less have an intelligent storyline. Nolan’s film is not, in my mind, overly-concerned with trying to confound quite on the contrary one of the few negatives you could say about it is that it is very concerned with making sure the audience is still holding on tight almost as if the subtext of certain lines of dialogue is “Are you still with me here?”

Yet it manages to impart its information in a way that is not overly-expository, we never learn what’s eating at Cobb all at once. In fact, we don’t know there is anything for some time. An important point is danced around in one scene and cleverly revealed later. A character unaccustomed to the world of dream espionage is the vessel through which we learn.

Inception takes a wild vision of the future and makes it seem mundane and doesn’t make a spectacle of itself but slowly builds a world and a narrative. It’s a blur slowly coming into focus and with each ratchet towards clarity more and more meaning can be inferred. It is a grandiose tale told in the intimacy of the psyche of its characters. It’s a tale that reduces large concepts into characters that dresses as a heist film only to shed that skin and reveal something even more appealing.

Yet through all its brashness, pomp and circumstance there is a deft hand at the controls of this tale too. It is a film that does hint at larger meanings that travels through the catacombs of the mind and makes you consider if you are reminded of someone… a man you met in a half-remembered dream.

Honorable Mentions

Best Short Film



Day & Night

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While people were all distractedly getting in touch with their inner-child as they watched Toy Story 3, a film that is eerily similar to the first two yet supposedly much better somehow, they also forgot that they had just witnessed another work of true Pixar genius in Day & Night. So impressed was I by this short that I wrote it its own review and honestly believe it was worth the price of admission 3D and all and that Toy Story 3 was just icing on the cake.

Jury Prize

The Complete Metropolis

Metropolis (1927, Kino)

Some critics will have Jury Prizes in their lists and some festivals award them as well. They’re basically a way of saying “I couldn’t really give you anything but I wish I had so here’s something for being just so friggin’ awesome.” My Jury Prize for this year goes to a film that was miraculously found and restored to more closely match the cut screened at its premiere in 1927 than had been seen in many years. In some ways it was brand new but having a silent with a reputation competing against new films is unfair to both parties. So my Jury Prize is proudly awarded to Jeff Matakovich, Benjamin Speed, Bernd Heller, Robert Gray and Kino for the wonderful reconstruction of The Complete Metropolis.