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Based on the comicbook series by Brit writer Mark Millar (of Wanted fame), Kick-Ass is a brakes-off joyride that’ll appeal to the inner geek in everyone.

In a role that’s light years away from his recent turn as The Beatles’ John Lennon in Nowhere Boy, Aaron Johnson stars as Dave Lizewski, a comicbook-obsessed, high school loner who dons a makeshift superhero costume so he can stick it to the bad guys.

Although Dave’s first outing is a disaster, a subsequent good deed sees him immortalised on YouTube and brought to the attention of the city’s other masked vigilantes: father-daughter duo Big Daddy (Nicolas Cage) and Hit-Girl (relative newcomer Chloë Moretz).

Squeezed into a suit that makes him look like gay super-dude Midnighter from DC Comics’ The Authority (another of Millar’s writing gigs), Cage is even more mental than usual as a man hellbent on avenging his wife’s death. But he’s a kitten compared with his potty-mouthed offspring.

Kick-Ass becomes embroiled in this deadly double-act’s vendetta, winding up a target for crime kingpin Frank D’Amico (Sherlock Holmes’ Mark Strong) and his duplicitous son Chris, AKA Red Mist (Christopher Mintz-Plasse).

No matter how amazing you might think flicks such as The Dark Knight and Watchmen are, they pale in comparison to Kick-Ass.

Springboarding from Millar’s attitude-rich comic, Stardust director Matthew Vaughn and screenwriter Jane Goldman have created a film that focuses on fun with a capital F.

They also make it clear that they’re intent on fucking with your perceptions of decency in the name of entertainment, from the moment 11-year-old Hit-Girl utters the ‘jaw-dropping line: “OK you cunts, let’s see what you can do now,” having just rammed a Samurai sword through a deviant’s chest.

You can imagine Tarantino enthusing, “Shit! I wish I’d thought of that!” In fact, Kick-Ass plays like a mental mix of Pulp Fiction and Kill Bill: Vol 1, with its relentless bloodletting and cooler-than-icebergs dialogue – and then there’s the black humour and (believe it or not) romantic subtext. It looks awesome, too, boasting colours so vivid they’ll make your eyes vibrate.

This is a risk-taking movie that sets a benchmark for similar superhero outings. It’s an achievement made doubly sweet by the fact that the Kick-Ass team had to independently finance the project after Hollywood slammed the door in its face.

In short: A movie so magnificent that other filmmakers will have to make a deal with the Devil to top it

Billy Chainsaw