Kick-Ass

In a way, it's almost a shame that Kick-Ass has so much in the way of violence and swearing in it - because as far as superhero-movies-with-an-inspirational-message go, it's pretty difficult to beat. Its lead character isn't somebody with superpowers, or a vast fortune and decades of martial arts training - just an ordinary teenage comic book geek, who wonders one day why "everybody wants to be Paris Hilton, but nobody wants to be Spider-Man".

When Dave Lizewski, in his earliest days as the wet-suited vigilante of the film's title, stands protectively between a mugging victim and his three attackers, it's not about fulfilling the responsibility of flukily-granted powers - it's about standing up, no matter what the odds against you, and saying "No more". A pretty strong moral, and one it'd be quite nice to show the kids.

On the other hand, if it didn't have all the violence and swearing, then it'd be fair to say it wouldn't be half as much fun. And make no mistake, Kick-Ass is an absolute blast. With nods throughout to greats such as Superman and Batman - as well as not-so-greats like The Spirit - it constantly and wittily skewers the superhero genre; and yet at the same time, it's an exhilarating example of it.

On the action front, in particular, it rarely fails to deliver - Dave's early forays into vigilantism feel brutal and real, while Vaughn shows a consummate amount of flair in choreographing a breathtaking, one-take rampage by Nic Cage's Batman-esque Big Daddy. But if the action sequences - and indeed, the film as a whole - provide us with a real star, it's in the foul-mouthed, samurai sword-wielding, pre-pubescent hurricane known as Hit Girl, a character and performance that mark young Chloe Moretz out as an astonishing discovery.

Not that the rest of the cast don't do well out of it. Aside from strong turns from the likes of Aaron Johnson (Nowhere Boy), Chris Mintz-Plasse and Mark Strong (cementing his reputation as a go-to for "sinister bad guys"), there's what might just be Nic Cage's best performance in years. It's clear that he's simply having so much fun - and the combination of his sweet nature out-of-costume, and a brilliantly hilarious Adam West impersonation in it, never fails to bring the laughs. It's with this balance that Kick-Ass succeeds so well - it's frequently laugh-out-loud funny, yet never a spoof. The story and action - aside perhaps from a gleeful, video-game-esque denouement - are always played seriously, and with a refreshing lack of cynicism.

It's not perfect, mind - despite the generally frenetic pace, it sags a little in the middle, and a romantic subplot offers up far too unrealistic a resolution (it's also the biggest departure from Mark Millar and John Romita Jr's original comic). But in general, Vaughn - established here as an action director of serious clout - and screenwriter Jane Goldman show that, as with Stardust, they're extremely adept at finding out what makes a book tick, and translating it into a thrilling movie experience. And as the work of people who have a deep understanding of both the ludicrous and meaningful aspects of comic book heroes, Kick-Ass is a masterpiece of the genre.