
In Justin Tipping's feature debut Kicks, nothing is as simple as it seems. Fifteen-year-old Brandon longs for a pair of the freshest sneakers that money can buy; assuming that merely having them on his feet will help him escape the reality of being poor, neglected by the opposite sex and picked on by everyone - even his best friends. Working hard to get them, he soon finds that the titular shoes have instead made him a target after they are promptly snatched by local hood, Flaco. Seemingly the embodiment of menace, Flaco harbors complexities of his own that will be revealed when Brandon goes on a mission to retrieve his stolen sneakers with his two best friends in tow. Boasting a strong ensemble cast and featuring a memorable lead performance by newcomer Jahking Guillory, the film transcends a deceptively traditional hero's journey to deliver an entertaining and sobering look at the realities of inner-city life, the concept of manhood and the fetishization of sneaker culture. Visually and thematically rich, with an amazing soundtrack of both hip-hop classics and Bay Area favorites, Kicks creates an authentic and original portrait of a young man drowning in the expectations of machismo.
About Kicks
Artist : Jahking Guillory, Christopher Jordan Wallace, Christopher Meyer, Kofi Siriboe, Mahershala AliAs : Brandon, Albert, Rico, Flaco, Marlon
Title : Kicks Cinema Paraiso
Release date : 2016-09-09
Movie Code : 0853246
Duration : 80
Category : Action & Adventure, Drama
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This is a debut of undeniable promise, both for its director and its largely unknown cast.

Kick-Ass offers some genuinely clever observations about the creation of celebrity in a world where viral video clips and latenight talkshow quips can turn attention seekers into overnight sensations (and inadvertent role models).

"Kicks" is that kind of fascinatingly uneven indie only children of gritty urban life know how to make when they're ready to pick up a camera and engage with their past.

Tipping's admittedly artful style is relatively ambiguous, focusing mostly on cheap visceral thrills, to the point where it's impossible to glean what he thinks about the depths to which Brandon will go.

[It] thinks it's so brave and bold. But it's more like the title character, a dweeb who just thinks he's tough.

Most of the lessons in Kick-Ass are juvenile, but Lordy are they stylishly told.

Kicks has almost too much grittiness for its own good, but its petite go-getter's appeal easily smooths over many of the film's rougher edges.

What do these characters consider worthy of killing and dying for? That a protagonist lacks superpowers is no reason for him to lack motivation, conviction, or purpose.

It soars, jet-propelled, on its central idea of matching a superhero's exploits with the grinding reality of urban teen life and on the aerodynamic smoothness of the film's style.

A particularly timely story about civic-mindedness and the pursuit of fame.

Let's say you're a big fan of the original comic book, and you think the movie does it justice. You know what? You inhabit a world I am so very not interested in.

Peppering an action flick with comedy is hardly original, but the mocking tone and off-kilter vibe set this film apart. It even has a hearty dose of charm, thanks mostly to the most outrageous performance by a child in recent memory.

The motif of a faceless, imaginary spaceman following the boy around is overly precious, but what does work is Tipping's focus on sensitive boys hardening in reaction to their father figures (or lack thereof).

Everything you've likely heard about Kick-Ass is true, providing you've heard it's profane, outlandish, ultra-violent, shocking, funny and wildly entertaining.

Vaughn cheerfully mines the queasiness of . contradiction for satire, but the movie takes the reality of its characters seriously. When good guys die, their loss actually stings.

It brings together several popular strains of contemporary moviemaking and combines them into one big, shameless, audacious, compulsively watchable, irresistibly likable piece of pure entertainment.

Funny, unexpectedly violent romp lets a regular kid play superhero for a while.

Vaughn directs with efficiency and a good sense of action while Johnson puts in an engaging turn that maintains sympathy and helps paper over some of the plot's more jerky, episodic aspects.

Suggested subtitle: Iron Man, You Just Got Served.

Fast, periodically spit-funny and often grotesquely violent, the film at once embraces and satirizes contemporary action-film cliches with Tarantino-esque self-regard - it's the latest in giggles-and-guts entertainment.

It's as if all the arguments about these hyper-violent films - why they are so popular, what they have done to our culture - are open for business in one convenient location.

Kick-Ass earns its name in every way.

Nicolas Cage is a hoot, a hollar and a fright as Damon Mac ready, a.k.a. Big Daddy. How can he be otherwise? He's a good cop gone mad.

Crude, bloody and moody, Kick-Ass embraces, at arm's length, its fanboy origins. But maybe they should have decided if they loved these stereotypes, or wanted to ridicule them to death before rolling the camera.

Kick-Ass has punk energy, ace action moves, and a winning sense of absurdist fun.

If you're going to play this game, you have to keep doubling down. Kick-Ass can't. The fights never grow in complexity; halfway through, the director has nothing to add.

This is the most brazenly funny bloodbath unleashed on the public since Pulp Fiction.

This is the ultimate fanboy product.

Tipping, who also co-wrote the polished script, captures this unique mix of adolescent anxiety, urban decay and societal friction in a remarkably confident fashion .

It's well made, compelling, and no more of a miserablist wallow than any number of film-festival refugees. Yet the movie's persistent grimness keeps compounding in a way that starts to feel like an end unto itself.

Never as shocking as it thinks it is, as funny as it should be, or as engaged in cultural critique as it could be.

It doesn't really add up, either as a psychological portrait or moral commentary.

The film has the courage of its genre convictions. It doesn't have even a whiff of market testing. It does everything on its own terms, and in this age of McMansion movies, that's a super accomplishment.

The characters have enough dimension to avoid appearing to be symbols of a social tragedy, and the movie's relative gentleness makes the harsher realities of Brandon's world all the more distressing.

I started hating this movie around the midpoint.

"Kick-Ass" isn't just broken by its flaws . It's flawed to start with, a hypocritical mess whose attempts to swagger turn into clumsy stumbling and whose knowing wink blinds it to its own problems.

I found it mighty painful sitting through all the bone crushing and blood-letting.

If the movie is over-reliant on slo-mo, voiceover and almost wall-to-wall music to drive scenes, its silky blend of lyricism with urban grit marks it as a promising debut.

A film about wannabes who use attitude and bluster to emulate their inspirations, this ersatz blockbuster ends up seeming a little too much like its heroes.

It will soon be a well-known part of the comic book movie pantheon.

Kick-Ass is some kind of twisted fun.

Kick-Ass is a guilty pleasure of the highest order, a guns-blazing, media-savvy superhero comedy designed to thrill geeks and outrage prudes.

It's a star-making role for Moretz, but everyone holds their own even in the face of their biggest enemy: lax pacing that makes this fun film drag and lurch.

I know it's all supposed to be tongue in cheek and lots of fun, but frankly this turned my stomach.

Tipping throws all sorts of tricks at the screen, most of which don't work.

While not all of the elements fit together tonally, on the surface level - the level that the title suggests - Kick-Ass does exactly what it's supposed to, as long as you're game for the language and the gutting.

At some point it becomes exactly the big, boneheaded movie it was making fun of in the first place.

Director Matthew Vaughn has made an action comedy so bloody funny - double emphasis on bloody - fans might need to see it again just to catch the gags they missed from laughing so hard the first time.

Prepare for amazement: This thing makes Nicolas Cage cool again.

Kick-Ass stands as an intriguing fantasy of social networking. To achieve superhero status, you simply put up your own Web site, announce it on MySpace and Facebook and you're on your mythic way.

A mosh pit of a comic-book movie that dares you to dive into its anarchy.

A bizarre and ultimately self-sabotaging movie that defies categorization, Kick-Ass is at times cheap and cynical, while in other moments is ingenious and strangely noble.

The film is post-modern surgery into the superhero myth, driving a scalpel into the warped logic of misanthropic killers who masquerade as civic do-gooders.

Kicks is not without its flaws, but even the flaws show Tipping's willingness to take risks, to go for the big gesture and to go for it honestly.

Kick-Ass is a compendium of all sleazy things, and it sings like a siren to our inner Tarantinos.

Is it a problem that Kick-Ass is by far the most violent movie ever to feature kids as heroes? Parents should consider themselves warned, though personally, I just wish that the film had ended up a bit less of an over-the-top action ride.

When filmmakers nudge a child into viewing savagery as slapstick, are we not allowing them to do what we condemn in the pornographer - that is, to coarsen and inflame?
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