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Home / Articles / Entertainment / Screen /  Violence that bores
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Thursday, April 22,2010

Violence that bores

By Michael Phillips

In a new introduction to the eight-part comic book series Kick-Ass, which was created in tandem with the film version, Image Comics co-founder Rob Liefeld describes the chief strength of Mark Millar’s superhero lark as extolling “hyper-real super-violence,” “so far over the top it has to be seen to be believed ... it makes you cringe and wince and ultimately leaves you with your slack-jawed mouth scraping the bottom of the floor.”

A tasty image, especially if you imagine the floor of your local multiplex. Deftly illustrated by John Romita Jr., Millar’s Kick-Ass revels in geek revenge, with the novelty of teen and preteen vigilantes. High-schooler Dave Lizewski, who transforms himself into the self-appointed butt-thumper of the title, discovers there’s a masked 10-year-old girl out on the mean streets already, going by the handle “Hit Girl.” She is the protégé of her excop father, also a crime-fighter behind a mask, operating as “Big Daddy.”

The task for director Matthew Vaughn was a tricky one. How to “honor” the insane gore of the print product without going too far? And how to finesse the violence directed at, or perpetrated by, the preteen (11 in the movie, because 11 is so much less offensive than 10) portrayed by Chloe Grace Moretz?

Vaughn’s version hews closely to the comic book.

But there is an experiential difference between hyperreal super-violence on the page and on the screen.

I started hating this movie around the midpoint.

And while Hit Girl’s single usage of a c-word more commonly heard in Britain than in America has generated some controversy, the more pressing issue is how stupidly relentless the gore is, from beginning to end. As Vaughn himself told one interviewer, “When my daughter gets to 11, I’d far rather she had a mouth like a sewer than be a psychotic mass murderer.” Yes, well, if you had to choose, that’d be the one. We live in a world where people offended to their very core by the acidic humor of Greenberg won’t think twice about letting their 12-year-olds lap up Kick-Ass, right after they get done rewatching Watchmen.

Millar’s storyline, adapted by Jane Goldman and director Vaughn, proceeds as if it were selling the most original concept imaginable.

What if superheroes actually existed in the real world? Fine, but that was the general idea behind everything from The Incredibles to Hancock to the bit in The Dark Knight where Batman has to put up with copycat-idiots invading his turf. Nicolas Cage, who plays Big Daddy, nearly saves Kick-Ass in a key early scene in which he teaches his daughter how to take a bullet (she’s wearing a vest, but it still hurts). That scene is just about right, and just about nothing else is in Kick-Ass, from Aaron Johnson’s colorless interpretation of Dave to the sight of an 11-year-old getting punched and kicked and then getting bloodthirsty revenge, over and over and over. It may well be a hit, but me, I’m waiting for Iron Man 2.

—MCT, Tribune Newspapers Respond: letters@boulderweekly.com

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