Apart from the nihilism that have become all-too common in action films – particularly since Tarantino popularized the justifiable tooth-for-tooth revenge fantasy in the mid nineties – Kick-Ass is a very likable movie. In that sense it is reminiscent of 1994’s Falling Down, which was a sensationally watchable and engrossing vigilante-drama with a poignant turn by Michael Douglas in top form.
The editing in Kick-Ass is rapid and competent. It is a rare sight to see action-sequences edited together this well, without cheating. Most action-directors employ a blisteringly-paced and eventually confusing form of jump cutting that leaves the audience to make out the spacial-temporal logic of the scene by themselves. Such directors do not show how the different elements of the scene relate to each other. (Take for instance films like Quantum of Solace, District 9 or Avatar. )
Kick-Ass director Matthew Vaugh is, however, able to do this to a considerable extent. The action sequences in Kick-Ass are exciting, suspenseful and truely involve the viewer.
Add to that an unusually vibrant color scheme and a truly charming lead actor in Aaron Johnson and you have the year’s second best action movie to date, only behind the fascinating real politics of The Green Zone.