by Steve Habrat
Anytime someone asks me to list off a few of my favorite superhero movies, I always make sure to include director Matthew Vaughn’s full-throttle 2010 offering Kick-Ass among my top picks. I am a huge fan of the controversial original, loving it so much that I even included it in my top ten films of 2010 list. I found the film to be a hugely entertaining sugarcoated parody of the superhero genre and a work that had its fingers firmly on the pulse of the new teen generation. Plus, it features two must-see performances from Nicholas Cage and Chloe Grace Moretz. It should come as no surprise that news of a Kick-Ass sequel grabbed my attention and had me very excited. After a little over three years, Kick Ass and his merry band of misfit teen superheroes and super villains return in Kick-Ass 2, a surprisingly rushed and flawed follow-up to the anarchic original. There’s no denying that Kick-Ass 2 is plagued by flat filmmaking, sloppy scenes, one very shaky performance, and way too many characters to flesh out, but the film still manages to be a madcap rush, all while smartly lampooning a generation brought up on the glow of an iPhone screen, social media, One Direction, and bath salts.
Picking up a few years after the events of the first film, comic book fanatic Dave Lizewski (played by Aaron Taylor Johnson) has decided to retire his Kick Ass persona. He shuffles through school in a daze thinking back on his run as a high-profile superhero and considers hopping back in the saddle. After some contemplation, he decides to reconnect with former ally Mindy Macready AKA Hit-Girl (played by Chloe Grace Moretz), who is now in the care of her deceased father’s closest friend, Sergeant Marcus Williams (played by Morris Chestnut). Mindy agrees to help get Dave back on his feet but she is quickly forced to hang up her cape after Marcus discovers that she is still taking to the streets as the ferocious Hit-Girl. It doesn’t take Dave long to discover that his Kick-Ass persona has inspired a slew of costumed vigilantes that are eager to pick up where he left off. Fellow masked vigilante Dr. Gravity (played by Donald Faison) soon recruits Dave to join the vigilante group “Justice Forever,” an organization run by the mysterious Colonel Stars and Stripes (played by Jim Carrey). Meanwhile, Dave’s former superhero partner Chris D’Amico AKA Red Mist (played by Christopher Mintz-Plasse) is busy plotting his revenge against Kick-Ass. Redubbing himself The Motherfucker, Chris begins recruiting a gang of psychopaths that will aid him on his quest of tracking down Kick-Ass and destroying New York City.
With Vaughn out of the director’s chair and serving only as producer, the Kick-Ass franchise has been handed over to Jeff Wadlow, the man responsible for such films as Cry Wolf and Never Back Down. Wadlow quickly proves that he has a handle on action-oriented sequences of Kick-Ass 2, as the same blood-drenched carnage that cut through the original film quickly comes roaring back with a vengeance. There are a number of stand out scenes including a back alley brawl that manages to capture some of the giddy shock that pulsed through our first encounter with Hit-Girl, back when she hacked through a living room of thugs as the inexperienced Kick-Ass looked on in absolute disbelief and horror. There is also a claustrophobic fistfight between “Justice Forever” and a room of seedy gangsters (capped off with a dog chewing off a gangsters unmentionables), a fiery suburban battle between the hulking Mother Russia (played with gusto by Olga Kurkulina) and a slew of cops (wait for a visual gag including a lawn mower), and a massive final showdown that looks like Wadlow took a bunch of neighborhood kids to see the climax of The Dark Knight Rises, told them to go home and make their own superhero or supervillian costumes, and then take to the streets to duke it out. It’s all very entertaining and guaranteed to put a smile on your face, that is, if you can stomach blood, spit, and chunks of flesh flying across the screen.
While the action is good and gory, Kick-Ass 2 really begins to clutter itself with numerous characters that all seem undercooked. The first time around, Aaron Taylor Johnson was the star of the show and everyone else was just a colorful supporting player, but with this film, he has to share the limelight with Chloe Grace Moretz’s Hit-Girl. Johnson is still bursting with lovable geeky charm and its fun to see him with sharper fighting skills when he throws the green wet suit on, but when Chris D’Amico begins targeting his personal life, his character’s inner struggle with throwing on the mask seems snubbed. Meanwhile, the heavy focus on the fan favorite Mindy/Hit-Girl is certainly welcome, but it seems like it is treading on the toes of Dave’s story. Mind you, Mindy’s plotline is still clever, one that reflects upon her pursuit of a normal life and trying to fit in with the popular girls at school. Moretz is such a talented young actress and she brings real bite when she is forced to turn the tables on the cheerleading clique that dares wrong her. Perhaps the biggest surprise here is Jim Carrey as the scene-stealer Colonel Stars and Stripes, a born again ex-mob enforcer with some foul chompers and a habit of taking a baseball bat to the REALLY bad guys. Carrey is really only in the film for about twenty minutes, which is a shame because you want to know more about him. Instead, his backstory is relegated to a handful of exchanges between other “Justice Forever” members that he has taken the time to mentor.
Perhaps the weakest player in the cast is Christopher Mintz-Plasse as Chris/The Motherfucker. There is no doubt in my mind that Plasse absolutely loves this role, but his over-the-top approach to the character begins to feel cheap after a while. His character is built simply to shock at every turn, making you long for something to really drive his evil scheme. It doesn’t help that his comedic timing seems to be on the fritz. As far as the supporting players go, Faison is on point but underused as the smiley Dr. Gravity, returning cast member Clark Duke has softened as Dave’s best buddy Marty/Battle Guy, Robert Emms is fidgety as the homosexual do-gooder Insect Man, and Lindy Booth is bubbly and sexy as the femme fatale Night-Bitch. Booth’s Night Bitch is established as a love interest for Kick-Ass, but by the end, its gone without a trace. As far as the bad guys go, Kurkulina is pure roid rage as the one-woman-army Mother Russia, Andy Nyman is pure sleaze as The Tumor, Daniel Kaluuya is wasted menace as Black Death, and Tom Wu is filler as Genghis Carnage. Basically, all most of them are asked to do is march behind Plasse and scowl into the camera, although there is a bad ass battle between pint sized Hit Girl and stone cold Mother Russia. The most cringe-worthy character of all is probably Augustus Prew’s Todd, Dave’s dim former buddy who joins sides with The Motherfucker and then acts surprised that he did. It’s about as underwritten as characters get, especially ones that double-cross their buddies.
While some botched supporting characters and graphic violence play tug of war, the intimate moments are the ones that really could have used more attention from the filmmakers. There are times when heartfelt exchanges feel like they were written with graphic novel dialogue and it doesn’t help that some of these scenes feel like Wadlow simply aimed his camera at one of the Kick-Ass graphic novels and hit record. The best of the serious-minded moments comes when the “Justice Forever” team takes turns explaining why they decided to put on masks and fight crime. It may be a slightly lazy double for brief character development, but a few of the stories do strike a chord and have an eerie sense of realism about them. The saving grace to the bland presentation and stiff dialogue is the fact that, once again, the project dares to prod teen culture of today. Overall, amidst the numerous problems that plague Kick-Ass 2, there is still some enjoyment to be found. Carrey hits the crazy button with an oversized Acme hammer and then whispers warm advice that cuts right to the heart of our young heroes, the action is just as crazy/disturbing/cool as it was the first time around, and you just gotta love that Hit-Girl. If you’re in the target audience or willing to keep an open mind, Kick-Ass 2 will make for a passable night at the movies.
by Steve Habrat
After Tim Burton took Batman to the darkest depths of evil’s soul in 1992’s Batman Returns, Warner Bros. wanted to make the Batman franchise friendlier to families all over America (No death to children here!). With Burton out of the director’s chair and wearing the producer’s hat, Joel Schumacher steps in to brighten the mood, yanking the brooding Batman out of the shadows and tossing him head first into a world of neon lights and rubber nipples on the Batsuit. Schumacher’s Batman Forever, the third installment in the franchise, was without question the grandest Batman film to date. It sprints all over this art deco Gotham City that looks more like a nightclub than an actual metropolis. Some of the dark tones of the original two films remain loosely in tact and newcomer Val Kilmer, who steps in for Michael Keaton, refuses to quit brooding as Bruce Wayne, but the film welcomes in two campy villains, an annoying sidekick, and a homoerotic feel that turns Batman and his antagonists into glam rock drag queens with no purpose or direction. Completely reversing the plot to create a darker Batman, Schumacher takes things back to the campy 60’s television series that starred Adam West as a much more cartoonish version of the Dark Knight and in the process, he horrifies Batfans everywhere.
Batman Forever begins with the dreaded Harvey Dent/Two-Face (Played by Tommy Lee Jones), the former do-gooder D.A. of Gotham City, terrorizing the good citizens of the sprawling city. He blames Batman (Played by Val Kilmer) for not intervening in a courtroom accident that left half of his face horribly scarred. Two-Face soon finds an ally in the rubbery terrorist Edward Nygma/The Riddler (Played by Jim Carrey), a disgruntled former employee of Wayne Enterprises who is out to stick it to his idol, Bruce Wayne. The Riddler devises a way to suck the secrets out of the heads of the helpless citizens of Gotham, which allows him to get inside Batman’s mind and figure out his true identity. Meanwhile, Bruce Wayne has assumed responsibility for the young Dick Grayson (Played by Chris O’Donnell), who watched helplessly as his parents were murdered by the bloodthirsty Two-Face. As Dick spends more and more time in Wayne Manor, he begins to suspect that Wayne is hiding something and he is determined to find out what that secret is. As The Riddler and Two-Face close in on the city, Bruce Wayne begins to grapple with his true identity, leading him to consider hanging up the cape for good.
In the past, I have criticized Burton’s Batman films for not exploring the psychology of Bruce Wayne and what drives him to dress up like a giant bat. Schumacher’s Batman Forever attempts to wrap its head around why Bruce does this and while I admire the effort, it is shoddy and half-hearted. Bruce is urged by love interest Dr. Chase Meridian (Played by Nicole Kidman) to face down his demons, which leads to a handful of moody flashbacks that are ripe with the darkness of the first two films. Unfortunately, a good majority of this side plot was removed from Batman Forever due to the studio’s fear of venturing back into the dark side of Batman. This is just one of the missed opportunities in Batman Forever. There are tons of moments that appear to be going in the right direction but are thrown off by studio interference. Many are quick to place ALL the blame on Schumacher, labeling him the only person responsible for Batman crumbling to glittery ash, but I think Warner Bros. also played a part in this monstrosity. I was always hesitant to put all of the blame on him because you will catch glimpses of the film that Schumacher wanted to make. There are some bleak touches to be found if you are willing to look closely, something that saves Batman Forever from being a total turd.
Another positive that Batman Forever has working in its favor is the casting of Val Kilmer as Bruce Wayne/Batman. Kilmer continues to play Wayne with a straight face, refusing to stop and wink at the audience even when Schumacher slaps nipples on his armor. When he puts on the Batsuit, Kilmer communicates in a whisper that does seem perfect for a guy dressing up like a giant bat, which softens the blow of campy lines of dialogue like, “I’ll get drive-thru.” Things really hit rock bottom for Kilmer when he is forced to team up with O’Donnell’s Robin, who does nothing to lift the creeping veil of camp that is slowly draping over the film. Schumacher also hints at a homosexual spark between the two crime fighters, which would be okay if the previous two films had hinted that Bruce grapples with his sexuality but that isn’t the case here. Kilmer is forced to morph the brooding hero, who has had feelings for Vicki Vale and Selina Kyle in the past, into a bisexual with an identity crisis. It’s a bizarre touch to throw into the series in the third quarter but Kilmer keeps a cool head with the murky twist.
To make things worse for Batman Forever, O’Donnell has no clue how to approach the Boy Wonder. At times, he wants to be just as brooding and dark as Kilmer’s Bruce Wayne and at others, he wants to be a party-boy rebel without a real cause. I had mixed feelings about his character but he really rubbed me the wrong way when he jacked the Batmobile and takes it out for a joyride. Personally, I could have done without the inclusion of Robin, as I personally have never been a huge fan of the character. Then we have the two villains, both who lift the buffoonery of Nicholson’s Joker but forget the measured menace that made his character so unforgettable. When Carrey isn’t on the screen with him, Jones actually knows how to handle his split-personality wacko but whenever the question-mark-clad Carrey enters the scene, the two seem like they are in a contest to see who can out-camp the other. Carrey wins the contest and turns the Riddler into a heavily caffeinated version of the Joker who loves one-liners and loves light-up jackets. Jones and Carrey do an admirable job with the material they are given, but I wish they weren’t asked to act like they are two giddy teenagers. Matching Kilmer’s somber tone is Nicole Kidman’s sexy psychologist (a fitting love interest for this film), who is here to coax the demons out of Wayne. Also back is Michael Gough as the faithful butler Alfred, who contributes another quality performance, and Pat Hingle as Commissioner Gordon, who once again has absolutely nothing to do with his iconic character.
As I stated earlier, Batman Forever was the biggest Batman film at the time and Schumacher loads it with enough action to live up to that reputation. The film does have some marvelous sets even if they do turn Batman Forever into a gigantic neon dance club. The fight scenes lack the brutality of Batman and Batman Returns, at times seeming like the characters are dance fighting (It wouldn’t surprise me if they were) rather than actually fighting for their lives. Schumacher and his crew hope to overwhelm us with action and eye candy so that we won’t notice the fact that the film basically has no plot and they almost succeed. Luckily, Kilmer is a nice fit for Batman and it is a shame he didn’t stick around to elaborate on his performance, but I can’t say I blame him for abandoning the character when the studio is more interested in selling toys rather than making something coherent. Overall, Batman Forever is a regressive film that appeals more to kids than it does to the adult viewers looking for something substantial and weighty. Oh well, at least there wasn’t any “Wham” or “Pow” to speak of, which was a relief for a film that hits the ground with a campy joke about Batman stopping for drive-thru.
Batman Forever is available on Blu-ray and DVD.