Film Review - Scott Pilgrim vs. the World

Christopher Nolan’s Inception and Matthew Vaughn’s Kick-Ass have set the standard for films of 2010; innovative, audacious and utterly gripping, other films – worthy films – simply cannot compete with their brilliance. As the saying goes, however, good things happen in threes – so get ready to add Edgar Wright’s magnum opus to the list. Scott Pilgrim vs. the World proves that Wright (director of Hot Fuzz and Shaun of the Dead) can churn out one flawless film after another. Set in scenester capital Toronto and based on Bryan Lee O’Malley’s cult graphic novel, the film is an electrifying blur of vibrancy and vivacity. Welcome to the warped world of Scott Pilgrim.
Quick, colourful and charismatic, the film jumps straight into the story of the eponymous 22-year-old bassist (Michael Cera). Girl-obsessed and a music fanatic, Scott’s life consists of parties and his band Sex Bob-omb, deceptively leading the audience to believe that the film is no more than a glimpse of hipster culture – but don’t be fooled. The realistic storyline soon becomes history as the film unfolds; when an initially heartbroken Scott meets and falls for the enigmatic and unattainable Ramona Flowers (Mary Elizabeth Winstead), his comfortable little world is turned entirely upside-down. Scott finds himself thrown, against his will, into a raging ongoing battle against seven of Ramona’s exes – who just so happen to have super powers. Led by the formidable Gideon Graves (Jason Schwartzman), the League of Evil Exes is there to fight for Ramona’s affection, and Scott is thrust into a fantasy world full of lightsaber fights and hallucinatory bass battles to fight for the girl he loves.

Staying true to O’Malley’s original work, the film uses comic panel animation to enhance the surreal atmosphere. With bold graffiti text hovering over actions – BLAM! – and cartoon-style CGI effects, the cinematography transcends the typical bland imagery we usually see on film and stays true to O’Malley’s original comic book. From the primitive arcade game Pac-Man to the lush advanced graphics of the Final Fantasy series, the film encompasses subtle references, blatant allusions and shameless parodies of virtually every major game from the past thirty years – so for any self-confessed gamer geeks, this film is a dream come true.

Wright and screenwriter Michael Bacall cram in a host of supporting characters, managing to make each one as memorable as the next. Scott’s band consists of pokerfaced drummer Kim Pine (Alison Pill) and the “talent” Stephen Stills (Mark Webber), whose snappy exchanges never fail to amuse and perplex the audience. Kieran Culken shines in every scene he’s in with his portrayal of Scott’s roommate Wallace Wells, whose homosexuality is so charming it becomes – quite literally – contagious. Ramona’s Evil Exes are all completely unforgettable, but the arrogant vegan poster-boy Todd Ingram (Brandon Routh) almost steals the show with his seemingly unbeatable psychic powers, and Ramona’s battle with her slighted ex-girlfriend Roxy Richter (Mae Whitman) is absolutely unmissable. Scott seems to be building up his own league of evil exes during the film; he grieves over his failed relationship with the impossibly glamorous rising star Envy Adams (Brie Larson) and rebounds by dating Knives Chau (Ellen Wong), a sweet but possessive high school junior. Potential for a sequel? It’s unlikely, but we can hope.

Whilst still retaining his reputation as the perennial lovable geek (who we all know and love from Judd Apatow’s Superbad and Diablo Cody’s Juno), Michael Cera seamlessly adapts to this role with compassion and charm. He may perhaps be the most sexually unthreatening young man in Hollywood today, and his acting skills are undeniably limited, but as film progresses it soon becomes clear that no one else could have done a better job at playing – nay, becoming – Scott Pilgrim. Hailing from New York City, Scott’s love interest Ramona Flowers is the apex of “coolness”; she changes her bubblegum hair colour every week-and-a-half, breezes around on a pair of rollerblades and seems to know everybody worth knowing on the scene. Despite Ramona’s detached and distant demeanor, Mary Elizabeth Winstead’s effortless beauty overshadows any traces of superciliousness, guaranteeing that every guy (and probably even some girls) in the audience will fall head over heels in love with her.

This film has a million ways of deterring viewers – relentless videogame jargon that threatens to exclude the older generations, the ensemble cast of irritating young scenesters, Michael Cera’s one-dimensionality – but don’t be put off; Wright’s Hollywood debut is nothing less than a masterpiece. Impeccably blending accessibility with a stream of in-jokes and inside info, this film’s dynamic is completely original and totally captivating. Scott Pilgrim vs. the World? By the looks of it, we’re all on his side.