Movie Review: Kick-Ass 2

The most endearing thing about the Kick-Ass films to me is that despite all the the appearance of cynical subversion and deconstruction, it's deep down one of the most honest and optimistically childlike superhero series out there. It's in many ways the bipolar opposite of its bitter, unpleasant source material. For all the violence, debauchery, and juvenile humor, ultimately the films are about an earnest if completely-out-of-his-league kid who put on a costume for the same reason Superman or Spider-man did: to help people. And unlike the comic, the movie does not mock or punish him for that simple desire. It recognizes Kick-Ass as a loser, but a loser with his heart in the right place (more or less). It transforms a story that mean-spiritedly mocked the superheroic ideal into one that celebrates it. The films truly understand the appeal of comic books, that fantasy of having the courage to get out there and do good simply because it is good, to be the guy that finally says "enough" and gets off the sidelines. Kick-Ass the movie was a Silver Age 60's comic story in the guise of a Dark Age 90's comic story.

The bad news is Kick-Ass 2 isn't as good as Kick-Ass. By design, it couldn't have possibly been as good as Kick-Ass. There were certain key elements of awesome the first Kick-Ass had that are absent this time around, and without them there's just no way to completely recapture the magic. Those elements went by the name of Big Daddy and Hit-Girl, the undisputed show-stealers of the last film. The good news is that those voids have been filled by not-quite-as-awesome-but-still-pretty-awesome new stuff.

In the place of Big Daddy we now have Colonel Stars 'n Stripes, who tragically doesn't have quite as much screen time as his predecessor, but makes it count. Jim Carrey gives possibly the most uniquely un-Carrey-eque performance of his career here. Generally as an actor, Carrey only has two modes: Manic rubber-faced Ace Ventura Carrey and dower, I'm-a-serious-dramatic-actor-now Eternal Sunshine Carrey, and every role he plays is generally some slight variation of one of those two personas. But as the Colonel, Carrey reminds us all what a serious talent he can be when he puts his mind to it. Just as Nicolas Cage's Big Daddy called to mind Adam West's Batman if he decided the become the Punisher, Carrey's Colonel Stars 'n Stripes comes across as Robert de Niro trying to be Captain America. It's a startlingly chameleonic performance, and like Big Daddy it leaves you wishing he had been in more of the movie.

Now you might be confused by my earlier reference to Hit-Girl being "absent". "But Hit-Girl is in Kick-Ass 2," you might be saying, "In fact she's in it even more than she was in the first one". Well yes, a version of Hit-Girl is in Kick-Ass 2, but it's not quite the same thing. Hit-Girl was lightning in a bottle, and even with Chloe Moretz back, there's just no bringing back Hit-Girl as we knew here by simple virtue of the fact that she's too old now. The whole appeal of Hit-Girl was the transgressive, subversive image of a prepubescent girl swearing & killing people. But Moretz was 15 by the filming of Kick-Ass 2, and a 15-year-old girl swearing & killing people just doesn't have the same satirical bite as an 11-year-old girl swearing and killing people.

But like Big Daddy, a valiant effort has been made to fill the void. Instead of recasting the role to keep her 11 (and let's face it, what're the odds that your going to find another 11-year-old with the same combination of fearlessness & talent as Chloe Moretz?) or, God forbid, trying to pretend that she hasn't gone through puberty since the last movie, they instead embrace the change and do as many new and interesting things with it as possible. Fully aware of the character's immense popularity, the writers have moved her up from supporting player to secondary protagonist, with nearly half the running time devoted to her own storyline independent of Kick-Ass's. Hit-Girl, rapidly growing into a Hit-Woman, decides to honor her guardian's wishes and at least make an attempt at social assimilation at school. What could've been a show-stopping bore is made interesting by Moretz's performance and clever writing. Watching a high school girl who is both much more and much less mature than her fellow students makes for an interesting dynamic, especially when we witness the mighty super-assassin utterly terrified at the obstacles of basic social interaction and her own long-denied sexual development. The whole thing plays out as a Heathers-esque high school dark comedy, and while it's not quite as fun to watch as the rest of the movie, it holds you're attention and doesn't feel out of place.

But the real unexpected surprise is Christopher Mintz-Plasse as "The Mother Fucker". Not since Loki in The Avengers have I seen a villain who is such a perfect combination of pathetic and truly menacing. Choosing his blunt moniker after donning his dead mother's BDSM garb in the most understated joke of the movie, the former "Red Mist" from the first film goes on a chaotic revenge rampage in retaliation for Kick-Ass killing his mobster dad. The film derives endless humor from what an inept bastard the character is, especially a brilliant inversion of the most infamously misogynist scene of the book. But the character remains threatening as well for precisely the same reason: he's a bitter, out-of-control idiot with unlimited resources and an army of trained killers at his command. He's a loose cannon that can be alternately comical or terrifying, whatever the situation calls for.

The main flaw the film has is occasional confusion of tones, especially at the end when it tries to sum up the movies themes only to immediately contradict itself. The writers sometimes try to make these movies "about" something other than a teenage power fantasy with a healthy dose of superheroic optimism, which rarely works out. But despite that, the movie is consistently entertaining, and more or less captures the same spirit as the original, making up for its shortcomings with unique strengths of its own. In a summer that has seemingly been a war between light-hearted fun (Iron Man 3, Pacific Rim, The Fast & the Furious 6) and cynical, convoluted downers (Star Trek Into Darkness, Man of Steel, The Lone Ranger), Kick-Ass 2 is definitely on the side of the former.

Movie Review: Pacific Rim

I did not realize how badly I needed this.

I have been looking forward to Pacific Rim ever since it was first announced. An American take on Japanese kaiju movies and mecha sci-fi directed by monster lover Guillermo del Toro? I was sold three times over before a single piece of advertising was released. So I knew I would enjoy it. I knew I wanted to see it. But I didn't know just how much I needed to see it.

Summer movies have become increasingly hard to enjoy of late, for the simple reason that they've begun taking themselves far too seriously. They've developed the mindset of sulky teen whose mistaken pessimism for realism*. They've developed ambitions of something far different than mere entertainment, to the point that they seem to think entertainment beneath them somehow. Pretentiously long running times, twist-filled scripts trying to be far too clever for their own good, modern cinematography's unhealthy preoccupation with grit and realism, etc. It's as if the industry has forgotten that the whole point of the summer movie season was always to just have fun.

Guillermo del Toro has not forgotten.

And that is not meant to imply that Pacific Rim is so-called "dumb fun", like the recent surprise hit Sharknado. The whole problem with this era of summer moviemaking is the failure to recognize that fun and intelligence are not irreconcilable opposites. Pacific Rim is old school storytelling in the finest tradition of action/adventure film going all the way back to the genesis of the blockbuster in Star Wars. The story is both vital and unassuming, a solid foundation that makes the film function on an emotional level while calling very little attention to itself. There's none of that JJ Abrams nonsense of scribbling a needlessly convoluted plot that adds nothing to the experience except allowing the writer to show off.

The central conceit of the film is brilliantly simple yet provides great opportunities for character interaction. The giant war machines known as Jaegers, necessary tools in the human race's war again an interdimensional invasion of colossal creatures called Kaiju, are controlled through directly interfacing with the brains of their human pilots. But the strain is to much for any one man to handle thus necessitating two people to literally join minds in order to control the Jaeger. Naturally such an intimate connection requires two people who are exceptional close and in sync with each other emotionally. Our first protagonist, Raleigh Beckett, once piloted a Jaeger with his brother, who was killed in combat with the Kaiju. Naturally he's reluctant to return to the cockpit, but changes him mind when he feels a strong connection to a rookie pilot named Mako Mori. It not hard to see where things are going, we're all familiar with the tried and true "mismatched duo must learn to work together" arc. But in a pleasant surprise they manage to do this without making both of them act like assholes. Too often with stories like this, the central conflict does not come from character differences, but from both parties simply hating each other and bickering the whole movie. By the end they're usually still bickering, but since they had that one kinda personal moment in one scene, now we're meant to understand that it's some twisted version of friendship. But Raleigh and Mako connect immediately and form a friendship that carries them through the film as feels genuine**. The only real character conflict comes from the untested Mako, one of the best female protagonists I've seen in recent sci-fi, who must prove her worthiness more to herself than anyone else.

The film is well cast, and the actors really embody their characters beautifully. Charlie Hunnam manages to give Raleigh a tough edge without turning him into the stereotypically prickish image of "badass". Rinko Kikuchi's Mako is vulnerable but courageous. Charlie Day & Burn Gorman have surprisingly good chemistry as the comic relief duo. And of course Ron Perlman's small role as black marketeer Hannibal Chau is a scene-stealer. But the MVP who really runs away with the movie is Idris Elba as Raleigh & Mako's commanding officer Stacker Pentecost. Without saying a word, he conveys with every move, every expression, and every gesture the intense pressure his character is under as a leader. You can literally feel the weight of the world on his shoulders. His screen presence is potently commanding, and unlike other authority figures in fiction, he is neither a close-minded obstacle for the heroes to defy, nor an all-knowing Mary Sue/exposition machine. His actions are perfectly formed around a character that feels like a real human being, flawed but noble and the very definition of a hero.

In fact, that's another rare thing this film has to offer: heroes. In an year so cynical that not even Superman, Captain Kirk, or the Lone Ranger can offer unambiguously admirable heroism anymore, Pacific Rim offers an infectiously childlike sense of optimism that is badly needed. This film has the simple but uplifting theme of humanity being at its best in the face of destruction, the indomitable power of the human spirit. Gone is the petty nationalism of many American action films, replaced with a tone of global cooperation and unity. The Jaeger pilots come from all over the world, a rainbow of colorful characters joining together for a common cause. Even the obligatory "jerk" character is ultimately noble and heroic.

And though it should go without saying, the action set pieces are astounding. The grandiose scale of the Jaeger vs Kaiju fights is utterly rapturous. In stark contrast to the grime & grit aesthetic of the typical modern action movie, Pacific Rim's imagery is full of color and clarity. The often overused shakey cam technique is used only inside the Jaeger cockpits, where it makes sense for increasing the feeling of immersion. The Jaegers themselves are shown crystal clear, and del Toro creatively maintains the immense sense of scale without becoming overly reliant on low-angle shots.

I cannot emphasize enough what a breath of fresh air Pacific Rim was to view. The film is so entertaining on such a basic human level I cannot imagine anyone not enjoying it. Don't be fooled, this is not just some nitsch film for the Power Ranger generation, Godzilla fans and otakus. This is by far the best film of the summer and one of the greatest quintessential blockbusters of all time. If you have kids, you owe it to them to take them to see this. Tell others to do the same, and if the don't have kids, tell them to go anyway. There are only a handful of films out there than can tap into your inner child like Pacific Rim can. Don't pass it up.

*That a line from Flex Mentallo. Look it up, it's awesome.

**Bonus points for not turning Raleigh & Mako into a romantic couple just to have a superfluous love story.

Movie Review: Man of Steel

Let me explain a little something about Superman and me, so you know where I'm coming from. To me, Superman is more than just a story. It's an ideal. It's a way of life. It's a family tradition. My father, who himself grew up in Kansas where he jumped off roofs in a homemade red cape, introduced me to the character through the 1950's Adventures of Superman show and the Fleischer animated shorts. George Reeves is and will always be Superman to me. Grant Morrison's All-Star Superman is my favorite comic of all time and pretty much the definitive Superman story. The character and his universe have been a source of inspiration and comfort since I was very young. You Batman fans can have that self-absorbed little psycho-bitch, me and the Boy in Blue are busy flying.

Movie Review: After Earth

Is it too late for M. Night Shyamalan? Has he finally reached a point in his career where there is simply nothing he can do to redeem himself? The man is still a very talented filmmaker and always has been, but has his rampant unchecked ego causes irreparable damage to his reputation, so much so that even when we does good work people will still hate it simply because his name is on it?

Spoileriffic Movie Review: Star Trek Into Darkness

WARNING: Having enjoyed the freedom offered last time by ditching all attempts to remain vague, I am again packing a review with plot spoiling material. Leave the mystery boxes to JJ Abrams. Though seeing as this is JJ Abrams, you should by now that this movie has no secrets worth keeping. I leave it to your discretion

Spoilerrific Movie Review: Iron Man 3

WARNING: This review is loaded with spoilers. If you have not seen Iron Man 3 yet, do not read it. Seriously, you don't wanna read this. I had the movie spoiled for me and it suuuucked. Don't be like me. Stop reading this and get to the theater before some other asshole ruins it for you. Now. Go. Immediately.

Movie Review: Evil Dead (2013)

Horror remakes are not generally-liked. I realizing that's about as obvious an observation as noting that some people aren't terribly fond of puppy-killing, but it's true all the same. And if you ask most viewers what their problem with these films are, mostly likely the answer will contain the word "PG-13". People can't stand to see their favorite horror movies watered down. "It's not scary if you limit yourself, if you're not willing to go there" is the general sentiment. Fans of the originals want to see all of the blood-splattering and graphic carnage that so affected them the first time around, & are confident that horror remakes' consistent refusal to do so is the reason for their failure as films.

Evil Dead is proof that they were wrong. The gore was never the problem.

Movie Review: The Croods

 The Croods is a movie that is both better than expected yet still disappointing which are two things one cannot often say about the same film. On the one hand it has all of the studio Dreamworks' worst habits on display, a fact which was made pretty clear by the marketing. On the other hand, it shows some surprising awareness as to the vast potential of its own premise; never enough to take advantage of it, but enough to come frustratingly close to greatness. It's just good enough to make you wish it was better.

Movie Review: "Jack the Giant Slayer"/"Oz: The Great & Powerful"

 If you had told me that a 2010 movie by Tim Burton would be one of the most influential forces of the next few years of cinema, I never would've believed you. Burton had long past the point of predictability, just about everyone was sick of his schtick, and I was sure he had nowhere to go but down. But for whatever reason, Alice in Wonderland was a massive hit, so massive that ever since then making darker, action fantasy versions classic fairy tales have been in high demand in the industry. In the last two weeks, two such films have come out, so we're going to take a look at them both.

Movie Review: "Movie 43" & "Hansel & Gretal: Witch Hunters"

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Movie Review: Texas Chainsaw 3D

So here's a shocker for ya: It ain't that bad.

Movie Review: Les Misérables (2012)

I've made no secret that there were two major releases coming out on Christmas Day of 2012 that I was immensely excited for. One was Django Unchained, Quentin Tarantino's slavery revenge action epic, and the other was the first big budget cinematic adaptation Les Misérables, one of the most beloved stage musicals in history. To my dismay, only one of them met my admittedly lofty expectations. And while I'd love to talk about THAT one, you hardly need my input to tell you to see a Quentin Tarantino movie. But I will anyway: GO SEE DJANGO UNCHAINED.

Movie Review: Seven Psychopaths

It often irks me how eager people are to use the term “ripoff” when it comes to movies. Any sci-fi horror film about monsters picking people off in a confined area is an Alien ripoff, any action film where the hero picks off the bad guys in a confined space is a Die Hard ripoff, etc. Hell, any film that just involves treasure hunting is automatically an Indiana Jones wannabe, as if Steven Spielberg invented the genre or something. And by the same token, it kind’ve bothers me that whenever a director makes a career out of crime films with witty dialogue, dark humor, and infrequent bursts of ultraviolence, then they are inevitably compared to Quentin Tarantino: Guy Ritchie is the British Tarantino, Joe Carnahan is less famous Tarantino, Troy Duffy is shitty Tarantino, you get the idea. So while I’m loathe to oversimplify Seven Psychopaths director Martin McDonagh as the Irish Tarantino, it is probably the most succinct way of describing him.

The Lunatic Fringe: Mars Attacks!

Happy Halloween! Let's talk classic Tim Burton...and how there is no such thing.

Movie Madhouse: Cloud Atlas

Best movie of the year? Maybe. You should see it nonetheless.

Movie Review: God Bless America

Today's film poses me an interesting dilemma to which I'm not sure I have an answer: To what extent is indulgence and emotional catharsis in film an good thing?

Movie Madhouse: Taken 2

Back for a pointless, ever-so-slightly xenophobic sequel, Liam Neeson is...the Taken guy.

Movie Madhouse: Dredd & Looper

Dystopian futures, badass gunmen, and heaps of ultraviolence. That's my kinda weekend at the movies.

The Lunatic Fringe: Judge Dredd

Charged with the crime of liking Batman & Robin, Joshua the Anarchist has been declared insane and committed to Arkham Asylum. Locked away in a padded cell, he will endure movie after movie as doctors attempt to "treat" him. He may not have gone in a madman, but he soon will be.

This episode, Josh will give his deranged take on the 1995 Judge Dredd movie.

Movie Madhouse (The Series Formerly Known as Anarchy at the Movies): Resident Evil: Retribution

So yeah, I haven't been updating the blog like I should. Sorry about that. Anarchy at the Movies has a new name now. Enjoy.