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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.

Kick-Ass and Hit Girl are back in superhero mode in Kick-Ass 2.

Aaron Taylor-Johnson and Chloe Grace Moretz in Kick-Ass 2
Photo by Daniel Smith Universal Studios
Kick-Ass and Hit Girl are back in superhero mode in Kick-Ass 2.
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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Alex Bentley
Aug 14, 2026 | 1:30 pm
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
Photo courtesy of MUBI
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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