Every once in a while, a film comes along that spoils viewers silly with its blazing originality, sharp dialogue, manic visual style and relentless (emphasis on relentless) violence. Such characteristics are present in Quentin Tarantino’s “Kill Bill” films, ’70s exploitation films and the new comic-book adaptation “Kick-Ass.” Here is a film that is not afraid to take risks, ruthlessly plunging viewers head first into a pool of cheerful anarchy.

Not since the stylish, yet underwhelming “Watchmen” has a comic book film served up such bloody mayhem in both hilarious and unsettling ways. Director Matthew Vaughn is sure to stir up controversy as he attempts to obliterate family values in exchange for sheer, bloody and shameless entertainment.

When comic-book fanboy Dave Lizewski (Aaron Johnson) pitches the idea of roaming New York’s crime-infested streets as a full-fledged superhero (complete with no powers or martial arts training) to his loyal companions, they chuckle in disbelief. That is until Dave, wearing a bizarre green-and-yellow wet suit, becomes a YouTube sensation after a curious teenage bystander catches him on film making wimps out of two violent street thugs.

While Dave’s alter-ego (titled “Kick-Ass”) is kept a secret from his comrades and his family, the confidence he evokes from being television’s hottest new icon does wonders for his once static social life. It is not long before The Big Apple is flooding with passionate superhero wannabes, including the hilariously awkward “Red Mist” (played humorously by Christopher “Mclovin” Plasse).

As Kick-Ass’ popularity rapidly starts to develop, so does crime boss Frank D’Amico’s (Mark Strong) hatred for him. D’Amico views him as a threat to his sinister illegal practices and demands he be hastily disposed of.

In over his head, Kick-Ass is graced with the likes of real-life superheroes Big Daddy (Nicolas Cage) and Hit Girl (Chloe Grace Moretz), who have their own sadistic and sophisticated methods for fighting crime. One limb and four F-bombs at a time, the three masked vigilantes take justice into their own hands, even if it means making shish kabobs out of their victims’ organs.

Combining elements of dark humor, flashy visuals, satire and gratuitous violence, “Kick-Ass” is destined to become an explosive pop-culture phenomenon. While edgy and ultra-violent, the film also is very clever and consistently charming.

The laughs come fast and furious in this twisted action-adventure, complimented by characters as engaging as they are eccentric.

While Johnson evokes a quiet charm as the butt-kicking protagonist, this is really Moretz’s show. Imagine the birth child of Chucky and Dakota Fanning, throw in a neon purple wig and an assortment of cutting-edge artillery and you’ll have something close to the character Moretz’s depicts. At age 11, Hit Girl is a merciless killing machine, savagely cute and with a potty mouth only a mother could love. She is bound to stimulate a massive cult-following.

Also, Cage is utterly hilarious, putting his usual quirks to good use. The film earns and embraces its R-rating providing viewers with graphic content, both comically and artistically executed.

“Kick-Ass,” gloriously silly and refreshingly original, is a total blast that more than lives up its catchy title.