Based on a comic series by Scottish comic book writer, Mark Millar. The simple premise is what if an average joe decided to become a superhero? The result is a hilarious black comedy with character depth and a truly unique superhero movie.

Aaron Johnson plays the movie’s protagonist, Dave Lizewski. He’s your typical geek who’s into comic books and (figuratively) invisible to girls or anyone on that matter. There have been added characteristics that wasn’t featured in the source material, but it works and makes his character. The voice-over by Johnson isn’t entirely needed, but it’s enthusiastic enough to make it a minor criticism. Mark Strong plays Frank D’Amico, a New York gangster who suddenly has a superhero problem and decides to take matters to his own hands. He plays him with such menace that is brooding but also charismatic that could’ve came out from Goodfellas. The two scene stealers are Chloe Moretz as Hit-Girl and Nicolas Cage as Big Daddy. Chloe delivers her lines as she was born for this role, but gives a gentle warm feeling that doesn’t come out disturbing. Controversial that she’s given a line many parents will, most likely, complain about (“Okay, you c****. Lets see what you can do now!”) but it comes off hilarious and even then even more darkly hysterical when she starts killing off the drug dealers and the Banana Splits theme tune kicks in. Nicolas Cage plays Hit-Girl’s father, a ex-cop who also dons a costume that looks similar to Batman. What makes his performance stand out is his uncanny impersonation of Adam West from the 60s Batman TV-series. It just reminds us how crazy but damn good Cage can be and it’s about time Matthew Vaughn showed us that. Christopher Mintz-Plasse as Chris D’Amico/Red Mist reminded me of his McLovin act but also stayed true to the character.

The screenplay by Jane Goldman and director Matthew Vaughn is superb, delivering witty lines and spot on comic timing. This movie isn’t afraid to acknowledge its comic book roots, bringing satire, clichés and homages that make it its own. There’s even a reference to Taxi Driver, which also dealt with vigilantism. It makes sure there’s a fine line between glorifying the violence, and resulting it being negative. Kick-Ass may feature young teenagers killing people, but A) the people that are getting killed are bad guys, so therefore doesn’t make it controversial or morally wrong and B) the heroes don’t fight their way out and get away with it. They too get punished for their actions. Especially when Dave narrates by saying “with no power, comes no responsibility”, and then later realises he will be responsible to what he does. It brings a significant cultural relevance to the YouTube/Facebook/Myspace era, which was used in the original comic book series but it’s executed better in the film. The music fits so well, that it feels exciting and thrilling to watch the action sequences. I also applaud to the choreography and editing, the pacing is set just right and the fight scenes are shot and cut for the viewer to be able to see what’s going on (Michael Bay, take notes).

Overall; maybe not a classic at first glance but it will definitely launch a new set of fans. It’s certainly a must-see movie of 2010 and one of the top best so far. Matthew Vaughn understands the superhero movie aesthetics and conventions, but turns it around to make it stand-alone. It’s Fight Club meets Spider-Man, but also a hint of Watchmen.