DRIVE ANGRY- Review

Last Friday, we figured out that there is no type of bad movie that I hate more than a bad comedy movie. And today, we rediscover the fact that there is nothing in cinema that disappoints me more than when Nicolas Cage just doesn't put the effort in. And in a trashy grindhouse flick like Drive Angry, when everyone else is doing their best, that's just sad.

Cage dons another of his famous wonky hairpieces to play Milton, a dearly departed soul who has broken out of Hell itself on a mission. Cult leader Jonah King and his followers murdered Milton's daughter, and plan to sacrifice her orphaned baby to Satan. So Milton arrives back in the mortal realm, recruits pissed-off waitress Piper and blazes a trail of destruction as he goes after King, for his granddaughter and for his revenge.

The plot is the kind of thing that usually makes for a better trailer than a whole feature film, as was the case with the recent Machete. And it's the kind of thing that really requires a crazy bastard like Nicolas Cage to actually invest in projecting something for the audience to enjoy. There's a case to be made that he's effortlessly cool. I don't know about you, but I found his turn in Drive Angry to be merely effortless.

Luckily, there's a guy on hand who is effortlessly cool, and frankly, he's everything you want Cage to be in this movie. He's William Fichtner, and he plays Satan's right hand man, the Accountant, who's sent after Milton after he breaks free from damnation. Fichtner is a long-serving fixture from various action movies over the years, and he's more than able to give it all he's got in a larger role like this one, elevating the film in times when it seems like Cage didn't really want to be there. He makes this movie

Likewise, I enjoyed Billy Burke's histrionics as Jonah King- if you're wondering where you might know Burke from after seeing him in the trailers, he's Bella's dad off of Twilight. He breaks out of that more well-known character very well as the over-the-top villain of the piece here. It would also be remiss of me to overlook Amber Heard, who's doing a great job with the least of roles. Piper is another of those strong females who you wish could break the fourth wall and kick the cameraman's arse, as any strong female would in reality, if a guy followed her around leching over her good parts with a camera.

We've been into this murky territory before with me bitching about the alleged appeal of Megan Fox in the Transformers movies, and it follows here that Piper is into cars in a big way. My contention here is that Heard is not only much more attractive, but doing a much better performance, giving it her all in a way that most objectified bimbos in action films can't muster. She's the biggest thing on the poster for Drive Angry, obscuring a bored Cage, so it's a shame that the filmmakers were happier to use her looks to market the film than to use her name. Hopefully, she'll get some fame out of this and get some better roles, but I don't think that's how Hollywood works.

Wow, that's more than I would ever have expected to write about the actors in a film called Drive Angry, but what else am I going to talk about? The 3D? In this instance, I suspect the cinema messed up the projection, because despite all of the marketing trumpeting the fact that the film was "Shot In 3D", it looked like the worst of conversions. Lots of ghosting, which got very annoying, and as I haven't heard these complaints anywhere else, I imagine it's the cinema's fault. It demonstrates that multiplexes are making a killing by charging a premium for shoddy 3D, but should it entirely reflect upon the film itself?

Director Patrick Lussier had one of the first Real-D 3D films out of the gate in 2009, with My Bloody Valentine, so he's developed a box of tricks that he uses to full effect here, continuously chucking things at the audience as he did in his previous film. It's a small shame that he dips into Shoot 'Em Up's toolbox too by ripping off that film's raucous sexfight. More pertinently however, he goes back to the same well as Rodriguez and Tarantino have done with their own grindhouse throwbacks, and doesn't end up with a bucket of shitwater. It does have a mild odour to it though- I'd recommend you boil it before drinking it down.

It's a requirement of viewing that you know what you're getting into with Drive Angry, not only in terms of the goofy and old-fashioned plot and the prehistoric attitude to women, but also so that you're not too disappointed when you see Nicolas Cage sleepwalking through it. Amber Heard struggles against the casual misogyny to prove herself as a likeable action heroine, and William Fichtner just owns the entire film whenever he steps on screen. There's already talk of a sequel to this film, but what we really need to see is a spin-off for his character. This one was enjoyable enough, but more of the same would try my patience.

Drive Angry is now showing in 3D at cinemas nationwide.
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If you've seen Drive Angry, why not share your comments below?

I'm Mark the mad prophet, and until next time, don't watch anything I wouldn't watch.

SEASON OF THE WITCH- Review

After a banner 2010 saw him at his weirdest and best in The Bad Lieutenant: Port of Call New Orleans, doing some hilarious crowd-pleasing in Kick-Ass, and even being better than average in his usual Disney live-action outing, The Sorcerer's Apprentice, how does Nicolas Cage choose to start 2011? Naturally, he reverts back to exactly the kind of rubbish we've seen him coast along on before last year's outings got people interested in him again.

His latest betrayal of his fanbase goes by the name of Season of the Witch, and he plays Behmen, a knight who deserts from the Crusades with his comrade and best friend, Felson. They're caught out in a small parish that's troubled by the Black Death, and commanded by church officials to take an accused witch across country to a place where her evil can be put to an end. It's believed her witchcraft is the cause of the plague, and Behmen is less easily convinced that the young woman in his charge is guilty.

For starters, I think the main problems with Season of the Witch are twofold, but they both relate to juxtaposed elements that never quite mesh. Firstly, I can't tell if it's meant to be a fantasy film or a horror film, and it's not fantastical enough or scary enough to fit into either one of those alone. Second of all, the involvement of Felson, mentioned above, makes Nicolas Cage part of a double act. Unless his opposite number is Chloe Moretz, and the film is Kick-Ass, Cage in a double act doesn't really work, as Jay Baruchel and Justin Bartha can attest. Weirder still, Felson is played by part-time Hellboy and genre stalwart Ron Perlman.

Just try and imagine that combination in your head. Nicolas Cage and Ron Perlman. You might as well pair up Batman and Muttley for all the chemistry there is between those two actors. Perlman is clearly the better player in this one because of his experience in this type of film. Cage, for all of his celebrity nerdery, should stick to watching films like this rather than acting in them. His vocal rendition of "14th century knight" sounds an awful lot like "MIT professor" or "sorcerer" or "stage magician". Hell, it just sounds a lot like Nicolas Cage.

And even weirder still, it almost seems like the supporting cast are doing American accents to cover the losses of the leads. The great Stephen Graham's role is an embarrassment to a fine actor, and Robert Sheehan occasionally lapses back into his Irish accent, more familiar to fans of Misfits. There are no rewards for the actors on hand here, as the motley ensemble of characters trudge along on the road to holy ground, with their predictable arcs meeting their peaks and troughs like clockwork.

Claire Foy manages well enough as the seasonal may-or-may-not-be-gribbly of the title, but there's very little ambiguity about her character. Well, there's at least no chance that she might be just a wrongfully accused regular human girl. The turnaround we have instead takes us into much more familiar territory, lifting from horror films as we take a running leap towards a thoroughly uninspired denouement. Season of the Witch isn't that bad- it's just so uninspiring and such a minor effort that it's not worth the corresponding effort required for the audience to go out and see it.

And Season of the Witch, like so many of Cage's minor efforts before it, is a film they shouldn't have bothered with if they couldn't do it well. There's nothing to really chastise or praise about it because it's all so bloody forgettable, just like last year's Solomon Kane. For a similar, but much better film, go and find Black Death, the British horror film that's just recently come out on DVD. There isn't even any of the patented Cage unintentional comedy to stir you from the neutrality of this uninspired guff.

Season of the Witch is now playing in cinemas nationwide.
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If you've seen Season of the Witch, why not share your comments below?

I'm Mark the mad prophet, and until next time, don't watch anything I wouldn't watch.

Harry Totters- THE SORCERER'S APPRENTICE Review

As something of a regular disclaimer, it's only my opinion here- others are available. As ever, mild spoilers may occur in the process of reviewing, but never so far as to spoil any major plot developments.
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Physics geek Dave discovers a greater destiny as he becomes The Sorcerer's Apprentice in Disney's latest live-action fantasy film. He's sought after by two sorcerers who were once students of Merlin. Yeah, that Merlin. Balthazar wants to help Dave to defeat Merlin's deadliest enemy, Morgana. His rival, Horvath, wants to unleash her upon the world using a spell called the Rising. As Dave comes to terms with a world he could never have imagined, Balthazar must teach him everything he knows in order to stage a final battle.

The segment of Fantasia that Disney always seems to reference on DVD covers and posters of the film is of Mickey Mouse dressed as a sorcerer, and it's this little bit of back-catalogue iconography that has given way to The Sorcerer's Apprentice. The Fantasia segment was in turn based on a Goethe ballad, but this film resembles neither very much, simply because Nicolas Cage thought it would be a neat idea do a full film based on Mickey Mouse's magic mopping.

Instead it roots around in Arthurian legend. It seems as good a time as any to refer you back to my review of Percy Jackson, and my musings on how fantasy set in America often ends up somewhat crass. This one didn't impress me for starting out in Britain in 740AD before jumping to New York over a millennium later, but at least we don't have Cage reprising his attempt at a British accent from National Treasure: Book of Secrets as an apparent apprentice to Merlin.

Speaking of National Treasure, this one comes from director Jon Turteltaub, and he holds it all together considerably better than he did in that History Channel Indiana Jones knock-off of a franchise. It's a little long, and could have lost a scene referring back to the mop scene in Fantasia. Subsequently it could have been titled as something else entirely. Nevertheless, Turteltaub holds back on the running time and focuses on entertainment value.

Cage, on the other hand, doesn't seem to be having as much fun as you'd expect given how all of this was his idea, almost as if he got bored with the thought before it came into production. He still cuts loose a lot more than in National Treasure, and plays nicely against the terrific Alfred Molina. His Horvath is delightfully nasty and he chews the scenery very enjoyably throughout- while the gold standard is still his turn as Otto Octavius in Spider-Man 2, Molina is always worth watching in these otherwise disposable Hollywood actioners.

Less enjoyable is Jay Baruchel, whose grating nasal voice and face-slapping astonishment at the plot is like an ultra annoying mix of Jerry Lewis and Daniel Radcliffe's Harry Potter, circa 2001. He's likeable enough, sure, but he's there only to ply the stock Hollywood maxim of nerd empowerment. It's taken to extremes here too- take a shot of some alcoholic beverage every time you're told he's a geek. And then there's Toby Kebbell, who I hope will fall back through whatever magic portal he stumbled through to get from small but acclaimed roles in British stuff to this and his minor role in Prince of Persia. He's wasted here as Horvath's sidekick, acted and written as the kind of role Russell Brand would've got two years ago.

In general, the film walks a fine line between enjoyable summer fare and disposable assembly-line blockbuster. The bits removed are certainly visible, as the narrative flows like a dream. Not in a good way, or in the way of Inception, but in the way that scenes cut short and suddenly pick up elsewhere jarringly. I'm sure that'll be great for deleted scenes on the DVD, but it's not desirable in the cinema. Never fear though, this isn't quite the inevitable bad Nicolas Cage film after his recent good run, but let's see if he can fit any more good ones in before National Treasure 3 (one of many films that wouldn't benefit from a D on the end of that title) looms large in multiplexes in two years' time.

It's mostly enjoyable, but without any of the charm of a Harry Potter or a Nanny McPhee. What both of those films have that this doesn't is a sense of wonder. We're repeatedly told how cool all the CGI is, but it never properly feels magical. The Sorcerer's Apprentice may just make you yearn for the days when Disney's particular brand of artificial magic was more spellbinding, but it's a fairly harmless family film that probably offers more to kids than adults.

The Sorcerer's Apprentice is now showing at cinemas nationwide.
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If and when you see The Sorcerer's Apprentice, why not leave a comment on the film and/or my review? Don't worry- I've duly noted that the remaining Harry Potter outings will be a bit heavy-going, so if you're looking for something lighter, this is probably it, really.

I'm Mark the mad prophet, and until next time, don't watch anything I wouldn't watch.

Bad Cops, Worse Cop

As something of a regular disclaimer, it's only my opinion here- others are available. As ever, mild spoilers may occur in the process of reviewing, but never so far as to spoil any major plot developments.

Hollywood loves a police procedural. It's a sub-genre that can turn out fare as highly regarded as The Departed and Dirty Harry or as fiercely reviled as Hollywood Homicide or any number of Police Academy sequels. Or in this very week, it can turn out the likes of Werner Herzog's bat-shit crazy The Bad Lieutenant: Port of Call New Orleans or the Kevin Smith-directed 80s throwback, Cop Out.
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The title Cop Out is a fairly witty pun about the studio's insistence that the film's title was changed from its original A Couple of Dicks, for similar advertising-related reasons as the furore around Kevin Smith's last, Zach and Miri Make A Porno. Not the best of starts.

The film itself follows Jimmy and Paul, two cops who get on the wrong side of everyone with their unorthodox methods and general incompetence. They're suspended from active duty after blowing a hole in an important investigation, leaving Jimmy to try and sell an extremely rare baseball card in order to bankroll his daughter's wedding. The card is stolen, and the two cops go on the hunt to get the card back.

From the start, it's important to note that Cop Out is something of a labour of love. Even for a script that was good enough to appear on the 2008 Black List, the studio was eager to scale it back for a more lucrative PG-13 rating. That it remains intact is down to both director Kevin Smith and star Bruce Willis agreeing to take a pay cut in order to keep it at the higher R rating. I would really like to love it just for being a labour of love, but I'm afraid it's not enough.

I'm a big Kevin Smith fan, but he didn't write this one, and by his own admission, he's not the most amazing director in the world. Black Listed or not, the script needed a polish by Smith before it went into production, because given how he's always written honestly, directing Cop Out seems almost dishonest by comparison. The films he scripted always have an affection for their characters, but sadly it seems like Smith has more affection for Bruce Willis and Tracy Morgan here.


Willis puts in a fine turn that goes back to his comedy roots, but he's really the straight man to Morgan, who just annoyed me in this one. His brand of bluster that has worked well elsewhere fell short in Cop Out, and he only mustered a couple of chuckles out of me here. As he's one of the stars, that's sadly true for the rest of the film as well. In my view, someone should've figured they were in trouble when they were relying on Stifler to be the film's comedic highlight. OK, fair's fair, I didn't totally hate Seann William Scott in this, but I still believe he's part of the problem.

Smith has spoken of how he wanted to homage 80s cop movies like Beverly Hills Cop and Fletch, and the fine Harold Faltermeyer score goes a long way towards that, but the rest is fairly pedestrian. Instead of laughing, you'll groan when Willis makes an in-joke about never having seen a film with the line "Yippie-kay-ay, motherfucker". It's a lot lighter on belly laughs than I'd have hoped, and sadly recalls less memorable fare like Hollywood Homicide. This really could've been directed by anyone, and it's missing both the heart and the humour that Smith's other films have.

That Cop Out is Kevin Smith's most commercially successful film says more for audiences than it does for Smith. Clerks II was dirty as hell and funny to boot, but it definitely had a heart of gold. Dogma was a comedic projection of Smith's own Catholic faith without ever mocking more zealous people, even though such people went and protested anyway. And yet many more people saw this film, which falls down even without comparing to Smith's better works.

I like parts of it better than the whole. I like Kevin Smith's films. I like Bruce Willis when he's doing comedy instead. But Cop Out ultimately falls down on account of its script. We're never made to care much about the characters, especially when the film is far more concerned with evoking other films and other characters. It's funny by turns, but that's not funny enough. With a less studio-driven project, Kevin Smith really shines. Cop Out is not that film, and I'm tremendously disappointed to say so.

Cop Out is now playing in cinemas nationwide.
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Funnily enough, The Bad Lieutenant: Port of Call New Orleans centres around a bad lieutenant, in the New Orleans police force. Post-Hurricane Katrina, crime is rife, but so is police corruption. Don't believe the misleading trailers for this one- Terrence McDonagh is not once a good cop throughout this entire film, and indeed, he gets worse as he goes along. Having sustained a back injury which will affect him for the rest of his life, Terrence quickly moves onto substance abuse and an addiction to gambling. An unusual good guy, but there's still a crime to be solved, and Terrence's personal vices are intrinsically tied to catching a murderer who executed a whole family.

If you're not familiar with the works of Werner Herzog, a man who has brought us suicide penguins and variously been threatened with death and "unsuccessfully shot" in his career as a documentarian, this is probably not the film for you. Indeed, Herzog's involvement should scream to the unaware that The Bad Lieutenant is not a film for everyone. Its intentions are essentially to demolish the police procedural genre by trotting out all of its cliches in a surreal backdrop.

Have you ever asked yourself before now if Heat would have been a better film if we had some animal point-of-view shots? And if some of those shots were from the perspective of animals imagined by our hero? Because that really happens when Terrence spots some imaginary iguanas. These asides are all the more powerful for how infrequent and thus out of the blue they are. This is the Fear and Loathing in Las Vegas of cop dramas- it is constantly out to unsettle its audience and explode all of their expectations.

It helps enormously that Terrence is played by the Finest Comedy Actor Of Our Time (Even When He Doesn't Know It), Nicolas Cage. Through Terence, he's given a channel for all of his rampant insanity, something we rarely ever see since he became nailed down as the star of compulsively-directed blockbusters like National Treasure. However, Herzog must have focused him somehow, or else this would be another weird misstep like the world-famous awful remake of The Wicker Man. He is dangerous to watch, and he single-handedly makes the film absolutely repulsive, in the best way possible.


The trouble is, in reminding the audience of the tropes in a police drama, it occasionally just isn't weird enough to entirely carry it off. It's easy to get bored in the first hour, through scene after scene of hum-drum police procedure. There are the occasional lifts like the aforementioned animal POVs, which always break any monotony that sadly clumps up on-screen in the earlier parts. As our protagonist's sleep deprivation and drug addiction makes him more unhinged, the same happens to the film just from the act of following him around. There are peaks in the entertainment stakes, but this isn't quite the demolition of the genre that I was expecting.

As I've said, it's not exactly accessible even for those comfortable with the 18 certificate, and all the drugs and violence that comes with it. The absence of sex for the most part is telling- Herzog cuts away every time Terrence is about to get it on with Eva Mendes' tart with a heart. He rejects the titillation of American cinema, but then simultaneously embraces police corruption as a plot device. Terrence goes to extreme lengths throughout, but as mentioned, he's a bastard even before the back injury that sends him on a downward spiral.

Cage's performance reminds me of a joke I used to make about Ash in the Evil Dead trilogy- he's not a character, and the director simply followed Bruce Campbell around with a camera in his everyday life of fighting deadites and killing his possessed friends off as necessary. From most other directors, you might have believed that Cage was out of control, but Herzog's surreal sensibility is ever-present. He wants Cage to be this crazy. Incidentally, if you've seen Cage in Kick-Ass, see if the ending of this film makes it all seem like a spiritual prequel to his character in that film. You know, if some point over the next ten years, he got off drugs, stopped aging and grew a moustache. He's already as crazy here as his Big Daddy...

The Bad Lieutenant: Port of Call New Orleans is easier to like for what it is than for how good the finished product turned out. It's making a concerted effort to reject all the conventions of a well-trodden genre, but it's almost like the narrative threatens to trip it up. It all makes for an intensely uncomfortable film that's not exactly an auteur's folly, but I don't think it's the modern masterpiece everyone is heralding either. It's certainly memorable, if definitely not a film for everyone.

The Bad Lieutenant: Port of Call New Orleans is now playing in cinemas nationwide.
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If you've seen Cop Out or The Bad Lieutenant: Port of Call New Orleans, or just spent your evening watching the rather excellent conclusion to Ashes to Ashes for your cop fix instead, why not share your comments below?

I'm Mark the mad prophet, and until next time, don't watch anything I wouldn't watch.

Bloody Fuckin' Yeaah.

As something of a regular disclaimer, it's only my opinion here- others are available. As ever, mild spoilers may occur in the process of reviewing, but never so far as to spoil any major plot developments.

Kick-Ass begins with the musings of Dave Lizewski, a horny and unpopular high-school kid who has just one question- why has nobody ever tried to be a superhero before? It seems to him that everyone wants to help their fellow man, but without superpowers, few have the balls to actually do it. As you would, Dave goes and orders a scuba outfit and a luchadore mask off the Internet and becomes Kick-Ass. With the city of New York in the grip of an unscrupulous mobster called Frank D'Amico, Dave fails to realise that he's not the only hero on the scene, soon colluding with father and daughter crime-fighting duo Big Daddy and Hit-Girl. With no power, comes no responsibility.
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Holy shit. Just... wow. I'm calling it now, there will not be another film as entertaining, as brilliant or as downright demented as Kick-Ass this year. I'd be happy to be proven wrong there, because the only thing on my mind coming out of this was how soon I could see it again, and just one film like this is enough to make 2010 pretty fucking special. It's really that good.

This sets the bar high for all future comic book adaptations in more ways than one. Not only is it hard to think of one yet released that's as great, but it also closely mirrors the plot of Sam Raimi's Spider-Man, both mocking and celebrating the structure of that film. Its central mantra (see above) echoes the sombre one-liner delivered by Uncle Ben and there's a parallel with the relationship between the villain and the villain's son.

If the planned Spider-Man reboot (still a bad idea by the way) or any other superhero origin tale sticks to that same structure now, it will pale in comparison with this marvellous and loving parody of those conventions. No longer is it acceptable for Peter Parker to whup ass the very first time he dons red and blue tights, instead of ending up in hospital. Marc Webb has to nut up or shut up on that film, especially after Kick-Ass.

Of course, it's broader than that, also ribbing Superman and Batman in its nebbish representation of the monomyth. Aaron Johnson is terrific as Dave, instantly believable as a high-school pariah and yet you're also able to empathise with him right away. But just as his John Lennon was outshone in last year's Nowhere Boy, so is his title character outshone by Nicolas Cage and Chloe Moretz.

Yeah, I know, everyone's going to be talking about these two, but there's a fucking good reason for that. They're both incredible, as Big Daddy and Hit-Girl respectively, and I can't stress that enough. I've been saying for a while that Cage's niche is comedy rather than the professorial action roles he's been doing these last few years, and happily I was right. He's a hilariously violent and demented reincarnation of Adam West's Batman, clad in a costume reminiscent of Nolan's Batman.

And of course all of the controversy and hype have equally centred on Moritz. She sells the idea of an 11-year-old psychopath better than you'd ever imagine, and undercuts some of the poignancy around her character's lost childhood by just being so fucking hilarious. She's this year's equivalent of Heath Ledger's Joker- everyone who sees this will go ape-shit for Hit-Girl.

As for the rest of the cast, Mark Strong gives another reliable and villainous turn as D'Amico, while Christopher Mintz-Plasse might actually shake off the stigma of forever being McLovin' from Superbad with this performance as his son. It's fairly distinct from that more famous role, and he certainly holds his own amongst a flood of amazing comedy performances that might have well seen him sink the film instead. Really, he was one of the only things I was worried about when I went in, and he really surpassed all expectations.

You might have gathered that it lampoons comic movies, but there's a realistic undercurrent to all the admiring cartoonishness- in the world of Kick-Ass, you very much have to be rather unbalanced to go around fighting crime in a costume. Dave compares the enactment of his fantasies to being a serial killer at an early point in the film, and much of the central joke for the first hour or so is how outlandish the concept is- how ridiculous Dave looks walking down the street as Kick-Ass in broad daylight. You could never accuse the comedy of merely taking refuge in audacity though, because this is more or less laugh a minute for much of its running time.
When the joke starts to wear off with the idea of real-life superheroes, the emergent storyline picks up the slack. You care about Big Daddy's crusade, and about Dave pretending to be gay to impress the object of his affection, and about Chris' need for his father's approval. In this much, it's a totally immersive film. For instance, you might start out feeling bad for laughing at some of the more insane humour, but it draws you in with likable if not identifiable characters. And you'll stick with it even at its most outlandish.

A lot of people will claim that this glorifies violence, and that no one can really deny that it's not for the weak of stomach. To the latter, yeah, alright- go and see The Blind Side or something else if you're squeamish about that sort of thing. To the former, fuck no. If you think these characters are glamorous and come out of Kick-Ass wanting to be a superhero, seek help. It's sheer entertainment, and with a 15 certificate it's not really pushing the borders of decency anyway. And besides, the fight choreography and editing are really well done, so it's worth seeing for that too, amongst the nice choice of music, the performances, the cinematography, the gleeful deployment of the old Chekov's bazooka trope and... well, everything else about it.

I'll level with you, because if I'd have said this at the beginning, you might have listened and then not read a word I had to say. Critics and reviewers can't tell you about Kick-Ass. The Daily Mail will shit kittens and blame Jonathan Ross as they try to stir up a moral panic. Elsewhere, there might be some more positive rhetoric flying around like "Watchmen and Shoot 'Em Up in Quentin Tarantino's blender" or something like that. If that sells it to you, then fine.

But no, even if they like it, they can't tell you. Go and see this film. There's a pleasing sequel hook at the end that I would really love to see fulfilled if the cast and crew are capable of sustaining even half the level of awesomeness that this film keeps level for a whole two hours. I can only really sell it to you as two hours of sheer awesome, and hope to hell you go and see it. Thank me later. Bloody fuckin' yeaaah.

Kick-Ass is currently previewing in selected cinemas, and goes on wide release from April 2nd. So if you see it, and you bloody should, why not share your comments on the film and on my review below?

I'm Mark the mad prophet, and until next time, don't watch anything I wouldn't watch.