Showing posts with label kick-ass. Show all posts
Showing posts with label kick-ass. Show all posts

Thursday, 20 June 2013

Can You Read My Mind

More musings on Superheroes by David Schwartz…

Long ago, during a school visit to a top secret Government mathematics facility, I was bitten by a radioactive abacus: I quickly discovered I had gained an uncanny ability to count things. I was tempted initially to use my superhuman skills for personal gain, and very nearly became an investment banker. Instead under the cover of my alter-ego “The Plus One” I have employed my unique talent in the fight against crime for many years, and can even claim to have saved the Earth on five occasions. Or was it four?

Even with my phenomenal counting abilities I seem to lose track of the number of times the Superman concept has been “reinvented.” The novel Superpowers is just one of so many examples: films such as Unbreakable, Mystery Men, Push, Next, Jumper, Kick-Ass, Super, The Incredibles, and TV series such as Heroes or Misfits have already been there. Superheroes falling out of favour with the public, turning against the humans or against each other, with and without costumes, alter-egos and actual powers, with corporate sponsors, and with insanely powerful or eccentric powers – haven’t we all at some time fantasised about being able to hurl forks with deadly accuracy, or to make fish explode?

It doesn’t require any supersenses, though, to see that most of these “reinventions” are nothing of the sort. The Hulk never wore spandex! Batman never had any powers! Superman makes fish explode all the time! (allegedly) One theme that never seems to go away is the supervillain, and the cliché that the hero and villain complement each other.

Superpowers is therefore exceptional in that much of the story is about the absence of supervillainy. The All-Stars make a real but underwhelming impact on local crime statistics. They both assist and annoy the police, and the public become irritated and litiginous but fall short of baying for blood. Without a supervillain or doomsday plot they lose their way and lose their hero status – their powers also have their own limitations and divide the team more often than uniting it.

It turns out that the plot is smarter than this. There’s a twist coming – it was foreshadowed in the first line of every chapter but it still took me by surprise. Perhaps superheroes exist in our minds because supervillains do indeed exist in real life.

Saturday, 14 May 2011

It's Grimm Up North [Review: Hanna]

Some films entice you in with awesome sequel promises, then disappoint with boring originality. Catfish is not the sequel to Sharktopus. The same goes for Donkey Punch and Sucker Punch, or Tron:Legacy and Tron. Miley Cyrus fans may experience similar disappointment at the opening of Joe Wright's film Hanna: is this tale of an albino child being raised by a rogue CIA agent as a warrior in the Arctic Circle as distant from Disney's popstar-alter-ego fairytale as you can get?

Maybe not quite so distant. Hanna's training leaves her unfulfilled and lonely: she wants to know what music feels like and, it turns out, her long-deceased mother was a talented singer. After her recapture and escape from a CIA base she befriends another tweenager and before the abandoned theme-park finale (all films should end in an abandoned theme-park) there are plenty of familiar pre-teen angst moments: awkward friendships, trust and secrets, almost killing boys who try to kiss you, skinning rabbits for breakfast and so on.

The deer's heart of this film is ripped from European fairytale, and of course this is a Grimm rather than Disney retelling with plenty of grue. Hanna (Saoirse, pronounced "K-ai-t," Ronan) is by turns Snow White, the Ugly Duckling or Red Riding Hood, while CIA handler Marissa Vigler (Cate Blanchett) is the wicked stepmother and Erik Heller (Eric Bana) the kind-hearted huntsman. It is this fairytale layer that turns Hanna from just another spy vs spy thriller into something much more captivating.

However there are other influences too. Hanna has a tendency to spout definitions like a walking Wikipedia: this was a central theme of my 2009 Sci-Fi London short Too Much Too Soon and I'm big hearted enough to take this as a tribute rather than any kind of plagiarism. Thanks Joe!*

Erik and Hanna reminded me of Kick-Ass superheroes Big Daddy and Hit Girl. While the question is the same - is there a scared child inside the trained killer? But Hanna's identity is defined by her origins, training and mission - she is the bullet.

The film relies heavily on national stereotyping - the Brit tourists that Hanna befriends will be familiar if you've ever come across the Modern Parents strip in Viz and are the funniest Brit stereotype I've seen for a long time, even including The King's Speech. The German stereotyping of the agents on Hanna's trail is more painful, although in dramatic terms they are portrayed as efficient and emotionless team players rather than bungling or argumentative crooks - so at least make a credible threat. Vigler's accent? American reviewers should drawl their own conclusions.

*this paragraph flagged for irony moderation

Friday, 9 April 2010

How did this film beat the censors? [Review: Kick-Ass]

When Quentin Tarantino's Pulp Fiction was submitted for censorship, the censors thought long and hard about their decisions. We've come a long way from the bad old days when a flash of ankle would be too much for anyone to handle. Eventually they changed only one scene, zooming in on a needle so you don't see the tip enter the skin. Drug use is OK. Violence is fine. Glorifying them is where they drew the line, and the change they made was the minimum required. Censorship's now a subtle and intelligent business and I have a lot of respect for it.

At first viewing Kick-Ass appears to have walked straight through the censor's office leaving a bloody trail across the cutting-floor. Scene after scene of children dishing out vigilante justice. 11-year-old Hit Girl shooting up a coridoor of bad guys Matrix-style, accompanied by quips, jokes, good humour and a kick-ass soundtrack. Taking these scenes individually you might think they were glorifying violence in a big way, and I was shocked that so much of this remained uncut.

Putting the same scenes back in context is a little different. What sticks out about this film is not the glorified violence but the pain. There's a whole lot of pain in this film. Excruciating pain. And this is not a 3D film, it's filmed in Pain-O-Vision - watch and you'll feel as if you're getting a baton to the knees, or your teeth knocked out. I practically limped home and I can still taste the blood from my lungs. Almost every battle Kick-Ass enters leads to him getting a solid beating, whether he ultimately wins or loses, and even Hit Girl has her moment of doubt, when for a few seconds she's no longer an invincible heroine but an 11-year old cowering behind a cabinet.

This level of pain has two effects on the film: firstly, it converts it from a violent film to an ultra-violent film, but secondly it changes the message. Far from glorifying vigilantism, this film says: go ahead, but don't come running to me when you get hurt.