From paper to the big-screen, the adventures of Dave Lizewsky had great success, and the film version has increased the number of consents and admirers. There are many differences from the comic and the movie, and these are recognized by a deconstructionism that was present on the paper and that in the movie was put aside in favor of a vision that could grab the acclaim of the nerds. The main character of Mark Millar’s comic was an individual at times truly deplorable and, in some cases, able to compromise in squalid every day life – remember when he pretended to be gay to stay close to the girl of his dreams? In the movie they preferred to use the usual loser but finally manages to get his small winnings on life, a vision that perhaps reassured the majority of the public, sanctioning the success of the first adventures of the superhero Kick-Ass.

After all the first movie was a good film, not perfect, but was able to entertain with smart and a good direction by Matthew Vaughn – after this title rescue in the Hollywood panorama with the valuable X-men: First Class. All of us know how a good direction can save, sometimes, a title not so amazing conferring to it a plus that increase the final vote. Vaughn is a journeyman in the cinema world, and he can do his job very well, and for a film that has no particular artistic yearnings sometimes is enough. However, things may change drastically when there is a change of formation in the original team.

This time the torch passes to Jeff Wadlow (who is also the film’s screenwriter) director of titles like Cry_Wolf and Never Back Down, and he carries his personal vision in this second chapter.

It’s been a bit of time from when Dave wore the costume of Kick-ass for the first time, and many things have changed. Hit-Girl is trying to rebuild a new life with his adoptive father, and passes from fighting the criminals on the streets to fight the bullies-girls in the hallways. Dave instead continues to be Kick-ass, and seems to have found a team of heroes with whom to patrol the city with. Meanwhile, Red Mist returns to the attack in the shoes of Motherfucker …

I can say that the final result isn’t good, and this Kick-ass 2 can be one of the worst title of the year.

I could start by quoting a very minimal script that just has nothing of itself to say, and that is largely restricted to follow the original storyline made ​​by Mark Millar in his paper sequel (which is not even able to perfection). This is a detail that only those who have read the comic can grasp, but there is no denying that the film, also seen as a work in its own right and not as a transposition, sin from many points of view. Wadlow seems unable to create an interesting dialogue that can emphasize the scene in which it is entered, not to mention that a ubiquitous vulgarity lowers the overall level of a lot. In the first part there is also a lot of confusion, and the film can’t decide if the movie should talk about Kick-ass, of Hit-girl or both; each one carries its own micro adventures in a stand-alone way, without affecting too much on the storyline, until finally there is a mild attempt to connect everything with a too caricatured entrance of Motherfucker.

These were the problems with the writing; as for the direction, Wadlow demonstrates that he has a couple of nice ideas, but the film does not have the grit necessary and at certain points limping noticeably, not to mention that some fight sequences are really badly directed. y connecting to my initial point, if a good director can save an average yield from anonymity, a direction shortage can only get worse what is already born wrong.

Not so much to say about the cast, exception for the little Chloë Grace Moretz, that seems to become better and better after every movie – In this regard the expectations for the new Stephen King’s Carrie are very high. But it’s Jim Carrey that stole the show in every scene with his brilliant Colonel Stars and Stripes.