KICK-ASS: The Evolution of Superhero Films, 8/10

Since Bryan Singer’s X-Men revitalized the genre in 2000, audiences have been subjected to a never-ending barrage of comic book inspired films. In just ten years, it’s a fair assessment that we’ve reached a level of superhero fatigue. But while studios run out of A-list heroes to cast in their tentpole projects, Matthew Vaughn’s Kick-Ass, based on a relatively low-profile comic book, adds a fresh and unique entry to the category. The film excels at balancing satire with a legitimately compelling superhero origin tale.

Kick-Ass takes a simple question and explores it to its fullest potential: What if an ordinary kid actually attempted to be a vigilante crime fighter? Aaron Johnson stars as Dave Lizewski, the teenager who asks this and eventually becomes the title character. As Dave/Kick-Ass hones his crime fighting skills, he encounters a father-daughter tag team (Nicholas Cage and Chloe Moretz) while becoming the target of the city’s crime kingpin (Mark Strong).

Director Matthew Vaughn has proven himself as a capable and confident director with Layer Cake, and Kick-Ass allows him to have even more fun than his debut film. Vaughn’s high energy style fits the tone and material perfectly. There are obvious echoes to previous genre entries, with Dave’s neighborhood being very reminiscent of Peter Parker’s in Sam Raimi’s Spider-Man films. There are plenty of memorable sequences in the film, and thankfully the whole is at least equal to the sum of its parts. Although the film generally follows a typical three-act structure, the film keeps you on your feet as it mixes dark wit with tangible danger. The film isn’t based firmly in reality, yet Vaughn’s world feels alive and unpredictable.

Aaron Johnson’s portrayal of the protagonist couldn’t be better. Admittedly, it’s not a showy part, but Johnson is adept at being geeky, vulnerable, and likable... as close to a real teen in recent memory. The showy part belongs to Nicholas Cage as Big Daddy, who after a string of face-palms adds a solid film to his credit. Much has been said about his fun Adam West impression, but at the core, it’s clear that Cage is just having a good time with the material and not merely picking up a paycheck. The controversy surrounding Chloe Moretz’s potty-mouthed homicidal Hit-Girl isn’t entirely unwarranted, but the young actress is clearly one to look out for in the future.

The film features a memorable soundtrack filled with popular songs and pieces from memorable scores. Ennio Morricone makes an appearance, and Vaughn uses a piece from John Murphy’s Sunshine soundtrack to perfect use in a climactic scene.

Like any movie, the film does have some flaws, one being Dave’s unconvincing motivation to become Kick-Ass. Dave’s curiosity and boredom doesn’t seem like enough to keep the character persistent, especially after facing the setbacks he encounters early on. Thankfully the film remedies this later in the film when the stakes are heightened. Also, the film’s final shot rang a little weak. Thematically it made complete sense yet didn’t seem like a satisfying or appropriate way to cap off the film.

Kick-Ass is a love letter to vigilante hero films. There were several moments where I imagined this being the approach Quentin Tarantino would take if he had a crack at making a superhero film. The film’s simultaneous celebration and poking fun at comic book films adds new life to the ailing genre. Much of this lies on the shoulders of Matthew Vaughn, who adds another solid film to his resume. The success of Kick-Ass makes me more curious as to what his X-Men 3 would have been like. While that film will never be, Kick-Ass is a worthy entry in the crowded superhero field that deserves to be seen.

HOW TO TRAIN YOUR DRAGON: Trailers can be misleading, 8.5/10

Trailers typically do a good job of selling most movies well. Marketing is a powerful tool, evident in occasions when films turn out to be poor despite having awesome trailers. How to Train Your Dragon was the complete opposite case. I saw the trailers in the months leading to its release and wrote it off as a cookie cutter CG animated movie indistinguishable from the dozens Hollywood puts out every year. Thankfully, the film delivered much more than its underwhelming promotional campaign hinted at.

The film tells the story of a young Viking named “Hiccup” who dreams of becoming a dragon slayer like his father and the rest of his tribe. He captures and subsequently befriends a rare dragon, which he dubs “Toothless.” Hijinks ensue as Hiccup learns from Toothless and appears to his people as a master in dragon combat.

No, the film doesn’t break any molds in plot. After the inital set-up, average moviegoers will be able to see where the story is going. But the conventional story doesn’t hinder the film’s pure entertainment value. We’re not watching Dragon for revolutionary narrative storytelling or a complex character study. The filmmakers efficiently establish the setting and its characters and give us a protagonist that is likable and empathetic. We care about Hiccup and his adventure, which is more than can be said for some other films of the same ilk. In addition, there is a general sense of danger that definitely helped the film rise above the forgettable CG animated film of the week.

Jay Baruchel is perfectly cast as the voice of Hiccup. His geeky and anxious nature comes through in his voice acting and helps his character immensely. Also to note is Gerard Butler giving his best post-Leonidas performance. As Stoick, Hiccup’s father, Butler lives up to his name while also providing warmth when necessary.

The animators at Dreamworks must also be given huge credit for their work on Toothless. Despite zero dialogue, Toothless always appears as a believable creature with a mischievous but caring personality via the subtleties imbued in him by the animators. I was often reminded of Pixar’s amazing work in Wall-E when watching Dragon.

And while I’m giving shout-outs, John Powell should be recognized for his music. Powell’s track record is hit or miss; his work on X-Men 3 and Hancock were largely forgettable, but his score for Dragon is memorable and a perfect fit.

How to Train Your Dragon is a reminder of how films can captivate audiences with their magic and charm. To put it even simpler, the movie is just plain fun. The film is well deserving of all of its critical and commercial success and has reinforced the filmgoing lesson I often find myself failing to do, which is to never judge a film by its trailer.

MOON: The Sam Rockwell Show, 9/10

As audiences absorb more and more movies, filmmakers are often inclined to stuff as much as possible in their films. This is perfectly evident in the science fiction genre, as most movies try to outdo their predecessors in every way possible, Yet what results are often films afflicted with unnecessarily convoluted plot lines and CGI overkill. Every once in a while a film like District 9 pops up that takes aim at these high ambitions and manages to buck the trend. And sometimes, a film simply rejects these expectations and instead focuses on delivering a simple, yet incredibly rewarding experience, like Moon.

The film stars Sam Rockwell as Sam Bell, a lone worker responsible for mining material on the moon that provides energy on earth. Sam’s three year contract is almost up and he’s eager to get back home to his wife and young daughter. I won’t disclose any more about the plot because it’s best to enter the film with fresh eyes. Not to say that the story features crazy twists or secrets, but I believe every film to be experienced best when little is known beforehand.

Moon marks Duncan Jones' feature length directorial debut, yet the young filmmaker never shows any signs of being green. Every shot appears orchestrated with precise consideration, and the film's pace is deliberate but never boring. Considering the film’s setting and tone, there obvious influence from sci-fi classics such as Alien and 2001. Yet these homages do not hurt the film, and Jones remains capable of forming his own style.

In addition, Clint Mansell's score perfectly supplements Jones' vision. The composer's past showier pieces have become overused in film trailers, yet like his other scores, Mansell proves that he is a master at crafting subtle yet powerful music that always enhances and never hinders.

Yet even beyond the film's skillful direction, Moon is the perfect vehicle for Sam Rockwell's often under appreciated abilities. As Sam Bell, the actor gets the opportunity to show off his wide emotional and physical range. Being essentially the film’s only character for it’s 97 minute runtime seems daunting, but Rockwell’s performance grounds the film in reality and empathy, effectively selling the audience Sam Bell’s story. Despite a track record of wonderful supporting performances, Rockwell's career hasn't afforded him the luxury of many leading roles. His performance in Moon makes one wonder why this has so long been the case.

I approached Moon without much knowledge (not even a glimpse of the trailer) except that it was a low-budget sci-fi film with Sam Rockwell directed by David Bowie’s son. In hindsight, I’m glad I went in with so little because it enabled me to experience the film with minimal preconceived ideas. Today’s internet-fueled world allows movie geeks to learn almost everything about a film before it opens. Long gone is the mystery of filmmaking, instead replaced with a constant need of instant gratification. Perhaps because of the low-key nature of Moon, the film snuck up and completely enthralled me. I became entranced by the microcosm created by Duncan Jones and his team and even more captivated by Sam Rockwell’s protagonist. Once the credits began to roll, I sat in silence, overjoyed at the awesomeness that I had just witnessed.