The original Kick Ass was hardly a literary masterpiece. People read about superheroes all the time, thinks Dave, so why don’t people dress up in identity-obscuring clothes and beat up criminals in real life? So Dave dresses up in a green onesie and calls himself ‘Kick Ass’. When he is brutally beaten to a pulp, he is rescued by father and daughter team, Damon and Mindy Macready — a.k.a. ‘Big Daddy’ and ‘Hit Girl’.
Hit Girl is eleven years old but has been trained by Big Daddy to be a weapons expert and to be able to withstand various violent attacks. They are seeking to punish a man who caused Big Daddy to be wrongfully imprisoned. By ‘punish’, we mean ‘execute’.
Instead of following the story of Hit Girl and Big Daddy, the original Kick Ass followed Dave’s story as he goes through this strange fame kick. His story is obnoxiously adolescent. He wants an attractive girl to like him, but she likes his Kick Ass alter ego and thinks he’s gay. The son of Hit Girl and Big Daddy’s target ingratiates himself with Kick Ass in order to set a trap. Blah, blah, blah.
The idea of the film is to shock the viewer with stylised violence and an eleven-year old swearing rather than to explore the questions of justice. So what if Big Daddy was framed? Does the criminal deserve to die as a result? What justifies the abandonment of the traditional justice framework in order to go and beat up bad guys?
Kick Ass 2 is very much a case of second verse being the same as the first, but this time there is a really horrifically awful sexuality to the piece. The film is offensive to basic standards of taste and decency, with absolutely no mitigating factors to make it even remotely a fulfilling experience.