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    Warmed Over Superheroes

    Kick-Ass 2 kicks less ass the second time around

    Alex Bentley
    Aug 16, 2013 | 12:00 am
    Kick-Ass 2 kicks less ass the second time around
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    When Kick-Ass burst onto the scene in 2010, it was blast of fresh air among comic book movies. Brazen and unapologetically violent, it made the idea of an 11-year-old girl taking out an entire room full of bad guys not only plausible, but also utterly watchable. (Having the talented Chloe Grace Moretz helped tremendously.)

    But the inevitable sequel, Kick-Ass 2, is missing a few key components of the original. First is the element of surprise, which made the rise of Dave/Kick-Ass (Aaron Taylor-Johnson) and Mindy/Hit Girl (Moretz) such fun in the first place.

    Now, the two of them are dealing with overbearing parental figures, the inanities of high school, and the wear-and-tear of trying to be everyday superheroes.

    Without the benefit of shock value, much of Kick-Ass 2 has a been-there, done-that feel to it.

    More important is the turnover in behind-the-scenes talent. Original writer/director Matthew Vaughn is busy with the X-Men universe, so the reins were handed over to Jeff Wadlow, who isn’t a novice, but who hasn’t exactly set the world on fire, either.

    Wadlow can never seem to find the right tone. Like the original, the sequel bounces around from comedy to drama to action, but the funny parts are never that funny, the dramatic parts take themselves too seriously, and the action seems to be trying just a bit too hard.

    Without the benefit of shock value, much of the film has a been-there, done-that feel to it.

    The lack of a compelling story doesn’t help matters. Dave decides to join up with other wannabe superheroes, a group that includes Colonel Stars and Stripes (Jim Carrey).

    Mindy attempts to eschew seeking vengeance by trying to fit in with other normal teenagers. And Chris D’Amico (Christopher Mintz-Plasse), their archenemy, takes on an unprintable supervillain name and goes on his own quest for revenge.

    Although each of the stories has individual moments of entertainment, the three don’t really gel well together. More than ever, Dave seems like a pansy who should’ve never undertaken being a superhero in the first place. Chris is equally pathetic, constantly hiding behind others, a joke that should be funny but never hits home.

    As in the original, Mindy/Hit Girl is the most compelling character; she really deserves her own film. But even her arc has its dull stretches, as the repetitive nature of her relationship with her new guardian (Morris Chestnutt) and the predictability of her run-ins with popular kids at school can’t hold a candle to her in action.

    The biggest sin the movie makes is that none of the characters seems to move forward, despite proclamations to the contrary. Leftovers are rarely as good as the dish you had the first time around, and Kick-Ass 2 is no exception.

    Chris D'Amico dubs himself "The Motherf*&^%@" and gathers an army in Kick-Ass 2.

    Christopher Mintz-Plasse in Kick-Ass 2
    Photo by Daniel Smith Universal Studios
    Chris D'Amico dubs himself "The Motherf*&^%@" and gathers an army in Kick-Ass 2.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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