Starring: Nicolas Cage, Mark Strong, Aaron Johnson, Christopher Mintz-Plasse, Chloë Grace Moretz

Summary: The cinematic equivalent of a half case of Red Bull chased with donuts, Kick-Ass is a giddy, violent experience--and not your average superhero movie. Based on the comic book by Mark Millar and John Romita Jr., it offers a set of heroes who are decidedly without superpowers: Dave Lizewski (Aaron Johnson) decides he'll be just like a comic-book character, and puts on a ridiculous green suit to fight crime as the mysterious Kick-Ass. Luckily, somebody else had the same idea and comes along to rescue the incompetent crusader: Big Daddy (Nicolas Cage) and his daughter Hit Girl (Chloe Moretz), who also happen to be running around town wearing masks and vanquishing evil. And here we have the movie's masterstroke: Hit Girl, a pint-sized preteen who slaughters bad guys and swears like a sailor on leave (and was the focus of a measure of controversy when the movie was released). The main target of our heroes is a gangster (Mark Strong, Sherlock Holmes), whose neglected son (Christopher Mintz-Plasse, McLovin from Superbad) figures he might just pull on a costume himself and become… Red Mist! (One of the many funny things about Kick-Ass is that the superhero names are hopelessly lame.) Director Matthew Vaughn is operating at the same glib level as his Layer Cake, with cutesy song cues galore and a freewheeling appetite for cartoon violence. This means the movie's high wears off quickly, but it does get high--a crazy, hilarious (and by the way: decidedly R-rated) kick. All that, plus Nicolas Cage executes a deadly Adam West imitation when he pulls on his cape and cowl. That's entertainment. --Robert Horton

Stills from Kick-Ass (Click for larger image)

Starring: Albert Austin, Beulah Bains, Nellie Bly Baker, Henry Bergman, Charles Chaplin, Jack Coogan Sr., Jackie Coogan, Robert Dunbar, Lita Grey, Baby Hathaway, Raymond Lee, Carl Miller, Edna Purviance, Granville Redmond, Charles Reisner, Edgar Sherrod, May White, Baby Wilson, Edith Wilson, Tom Wilson

Summary: The Kid is one of the purest expressions of Charlie Chaplin's art on film. It unites Chaplin with a boy he had spotted in a vaudeville act, 6-year-old Jackie Coogan--whose life would lead to the child-protective Coogan Act and a role as Uncle Fester on TV. The story has the Tramp adopting an abandoned waif and teaching him streetwise survival skills. The gags are flawless, but for Chaplin the huge advance (other than a running time longer than his two-reelers) was the exploration of a rich vein of sentiment; the emotionally wrenching separation of the Tramp and the Kid is probably the most Dickensian sequence ever captured on film. Chaplin drew on his own rough childhood for the material (and may have been inspired by the death of an infant son immediately before beginning the project). Jackie Coogan's gift for mimicry allowed him to replicate Chaplin's exacting direction, making him the perfect Chaplin co-star. --Robert Horton

Starring: Leo Fitzpatrick, Sarah Henderson (II), Justin Pierce, Joseph Chan, Johnathan Staci Kim, Adriane Brown, Sajan Bhagat, Billy Valdes, Billy Waldeman, Javier Núñez, Luis Núñez (II), Christian Bruna, Alex Glen, Chloë Sevigny, Rosario Dawson, Julia Mendoza, Gillian Goldstein, Priscilla Forsyth, Francine Fuertes, Deborah Draper

Summary: Larry Clark's controversial film about New York City adolescents walking the AIDS tightrope is also an unblinking look at the dehumanizing rituals of growing up. But it really doesn't add up to more than the sum of its various shocks--virgin busting, skinny-dipping, male callousness--overlayed with middle-class disapproval. Clark is hectoring us for cutting kids loose at a terrible time in modern American history, but so are a lot of other people, who also offer alternatives and ideas. The film does nothing to push us toward new thoughts, new solutions, new dreams. It is more like a window onto our worst fantasies about what our children are doing out there on the streets. --Tom Keogh

Starring: Uma Thurman, Lucy Liu, Vivica A. Fox, Daryl Hannah, David Carradine, Michael Madsen, Julie Dreyfus, Chiaki Kuriyama, Sonny Chiba, Chia Hui Liu, Michael Parks, Michael Bowen, Jun Kunimura, Kenji Ohba, Yuki Kazamatsuri, James Parks, Sakichi Satô, Jonathan Loughran, Yoshiyuki Morishita, Tetsuro Shimaguchi

Summary: Quentin Tarantino's Kill Bill, Vol. 1 is trash for connoisseurs. From his opening gambit (including a "Shaw-Scope" logo and gaudy '70s-vintage "Our Feature Presentation" title card) to his cliffhanger finale (a teasing lead-in to 2004's Vol. 2), Tarantino pays loving tribute to grindhouse cinema, specifically the Hong Kong action flicks and spaghetti Westerns that fill his fervent brain--and this frequently breathtaking movie--with enough cinematic references and cleverly pilfered soundtrack cues to send cinephiles running for their reference books. Everything old is new again in Tarantino's humor-laced vision: he steals from the best while injecting his own oft-copied, never-duplicated style into what is, quite simply, a revenge flick, beginning with the near-murder of the Bride (Uma Thurman), pregnant on her wedding day and left for dead by the Deadly Viper Assassination Squad (or DiVAS)--including Lucy Liu and the unseen David Carradine (as Bill)--who become targets for the Bride's lethal vengeance. Culminating in an ultraviolent, ultra-stylized tour-de-force showdown, Tarantino's fourth film is either brilliantly (and brutally) innovative or one of the most blatant acts of plagiarism ever conceived. Either way, it's hyperkinetic eye-candy from a passionate film-lover who clearly knows what he's doing. --Jeff Shannon

Starring: Uma Thurman, David Carradine, Michael Madsen, Daryl Hannah, Lucy Liu

Summary: "The Bride" (Uma Thurman) gets her satisfaction--and so do we--in Quentin Tarantino's "roaring rampage of revenge," "Kill Bill, Vol. 2". Where "Vol. 1" was a hyper-kinetic tribute to the Asian chop-socky grindhouse flicks that have been thoroughly cross-referenced in Tarantino's film-loving brain, "Vol. 2"--not a sequel, but Part Two of a breathtakingly cinematic epic--is Tarantino's contemporary martial-arts Western, fueled by iconic images, music, and themes lifted from any source that Tarantino holds dear, from the action-packed cheapies of William Witney (one of several filmmakers Tarantino gratefully honors in the closing credits) to the spaghetti epics of Sergio Leone. Tarantino doesn't copy so much as elevate the genres he loves, and the entirety of "Kill Bill" is clearly the product of a singular artistic vision, even as it careens from one influence to another. Violence erupts with dynamic impact, but unlike "Vol. 1", this slower grand finale revels in Tarantino's trademark dialogue and loopy longueurs, reviving the career of David Carradine (who plays Bill for what he is: a snake charmer), and giving Thurman's Bride an outlet for maternal love and well-earned happiness. Has any actress endured so much for the sake of a unique collaboration? As the credits remind us, "The Bride" was jointly created by "Q&U," and she's become an unforgettable heroine in a pair of delirious movie-movies ("Vol. 3" awaits, some 15 years hence) that Tarantino fans will study and love for decades to come. "--Jeff Shannon"

Starring: screenwriting

Summary: This is an amazing class given by one of the Expo's finest speakers. Jim Mercurio's Killer Endings DVD will take your screenplay to the next level and bring you closer to a sale.Erik Bauer, publisher of Creative Screenwriting magazine The climax of your story defines theme, completes the character arc, creates a peripeteia and is a storys most emotionally charged moment. A great ending absolves a movie of many of its flaws: it can make a bad movie good and a good movie great. This class shows how to create meaning and emotion by unifying a characters goal and need into one succinct action: the killer ending. JIM MERCURIO produced the feature film Hard Scrambled, starring Kurtwood Smith and Richard Edson. He directed the feature film March which played at the Lake Arrowhead Film Festival. Ranked as one of the countrys top screenplay consultants, his clients include Emmy-winning and Oscar-nominated writers. As a teacher, he has shepherded over 600 short films. He directed the original 41 DVDs of the Screenwriting Expo Seminar Series. He is a columnist for Creative Screenwriting. He contributed to the bonus material for Warner Bros. Dirty Harry series and the encyclopedia, 100 Years of American Film.

Starring: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Elisha Cook Jr.

Summary: Stanley Kubrick's third feature, and first screen classic, is one of the great crime films of the 1950s. The Killing was written in collaboration with Jim Thompson, who penned pulp novels like The Grifters, The Killer Inside Me, and Pop. 1280, all of which were made into classic films. This time writing directly for the screen, Thompson joined with Kubrick to concoct a story about a desperate gang of lowlifes led by a grim, determined Sterling Hayden. Together they devise and execute a complex racetrack robbery, but inner tensions and the iron fist of fate work against them. The cast is uniformly superb, with Hayden, Jay C. Flippen, Timothy Carey, Marie Windsor, and Elisha Cook Jr. fleshing out characters torn between grandiose ambition and petty desire. Cinematographer Lucian Ballard fashions distorted, starkly lit interiors that reflect the psychological tensions of the characters. He and Kubrick also create one of the most memorably ironic final sequences in film history.

The Killing is a perfect introduction to the art and joys of film noir, and its bizarre narrative structure has been copied many times since. For a terrific double feature, see it with John Huston's The Asphalt Jungle, another noir masterpiece featuring Hayden; or Paths of Glory, Kubrick's next picture, again cowritten with Thompson; or even Jackie Brown, in which Quentin Tarantino pays homage to the ways this film leaps around in time. More commercial than some of Kubrick's later work, The Killing remains a tour de force by one of the world's finest filmmakers. --Raphael Shargel

Starring: Dawn Addams, Robert Arden, Maxine Audley, Phil Brown, Clifford Buckton, Robert Cawdron, Charles Chaplin, Michael Chaplin, Jerry Desmonde, Alan Gifford, Harry Green, Joan Ingram, Sid James, Oliver Johnston, Lauri Lupino Lane, Vincent Lawson, John McLaren, Joy Nichols, Shani Wallis, George Woodbridge

Summary: A King in New York

A King in New York, Charlie Chaplin's penultimate film--featuring his final starring performance--was made in 1957 but wasn't officially released in America until the '70s, when it, surprisingly enough, won an Oscar for Chaplin's score. What took so long? Thanks to his politics and unorthodox personal life, Chaplin was pretty roundly hated by the late '50s, but had the movie been better, someone might've brought it stateside sooner. Chaplin plays King Shahdov of Estrovia, on the lam when revolution grips his homeland. In New York, despite the occasional indignity, he's treated as royalty until he takes a stand against the commie-hunters, a plotline that hit way too close to home at the time (Chaplin, remember, was ahead of everyone in attacking Hitler when he made The Great Dictator). There's one inspired bit, as Shahdov orders dinner over the din of a supper club, but overall, the satire is strident, and Chaplin's takes on such things as technology and pop music make him look decidedly like an old fogey. --David Kronke

A Woman of Paris
At the height of his popularity, Charlie Chaplin chose to make a straight dramatic feature--without himself in a starring role. The plot of A Woman of Paris is perhaps not new: after a tragic misunderstanding, a small-town girl (former Chaplin paramour and longtime co-star Edna Purviance) goes to Paris and becomes the mistress of a rich playboy (Adolphe Menjou). But if the outline is familiar melodrama, the film still looks remarkable for its measured, adult attitude toward its characters; they are not black or white, but complicated, sophisticated shades of gray. Menjou, in particular, is a charming and thoroughly delightful cad. The film's matter-of-fact spirit on the subject of how adults conduct their sexual lives is also impressive. Critics loved the picture, but audiences did not, and Chaplin soon returned to comedy. He can be glimpsed, disguised, in a one-scene walk-through as a clumsy train porter. --Robert Horton

Starring: Dean Martin, Kim Novak, Ray Walston, Felicia Farr, Cliff Osmond, Barbara Pepper, Skip Ward, Doro Merande, Bobo Lewis, Tom Nolan, Alice Pearce, John Fiedler, Arlen Stuart, Howard McNear, Cliff Norton, Mel Blanc, Eileen O'Neill, Susan Wedell, Bern Hoffman, Henry Gibson

Summary: In 1964 director Billy Wilder was at the top of his game. Following a string of hits that had begun in 1959 with Some Like It Hot, he now intended to direct a bawdy boudoir farce in the grand tradition of the French theater. The contorted plot involves one Orville J. Spooner, an aspiring song writer (originally to be played by Peter Sellers, but replaced by Ray Walston after Sellers suffered a heart attack, which he partly blamed on Wilder), and his crazed lyricist, buddy Barney Milsap. Together they toil away in the town of Climax, Nevada, Orville working as a piano teacher and Barney pumping gas across the street. Along comes Dean Martin, playing a thinly veiled caricature of himself, who just wants to fill up his tank. Instead, the songwriting duo rig his car so he's forced to spend the night at Orville's, giving the dolts a chance to pitch their songs. But Dino also wants Orville's wife. No problem! They hire Polly the Pistol (Kim Novak), the local prostitute, to masquerade as her. Thus begin the high jinks. The film plays like an extended dirty joke that could have been told around the office water cooler in 1960. It was a colossal failure both critically and commercially, and was banned by the Catholic League of Decency, to boot. Nonetheless, the film has aged well and was ahead of its time (think of it as the grandfather of Caddyshack and the great-grandfather of There's Something About Mary). Wilder eventually renounced the film and moved on. --Kristian St. Clair