Scott Pilgrim vs. the World2010
Scott Pilgrim vs. the World (2010)
Critic Consensus: Its script may not be as dazzling as its eye-popping visuals, but Scott Pilgrim vs. the World is fast, funny, and inventive.
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as Scott Pilgrim
as Ramona Flowers
as Wallace Wells
as Lucas Lee
as Stacey Pilgrim
as Envy Adams
as Kim Pine
as Julie Powers
as Todd Ingram
as Gideon Graves
as Young Neil
as Stephen Stills
as Roxy Richter
as Knives Chau
as Other Scott
as Matthew Patel
as Other Scott
as Tamara Chen
as Demon Hipster Chick
as Winnifred Hailey
as Lynette Guycott
as Kyle Katayanagi
as Ken Katayanagi
as Some Guy
as Lollipop Hipster
as Elevator Hipster
as Elevator Hipster
as Party Goer
as Party Goer
as Party Goer
as The Voice
as Party Goer
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Critic Reviews for Scott Pilgrim vs. the World
Full of fresh, sharp touches and nonchalantly brash performances, Scott Pilgrim vs. the World consistently hits the sweet spot.
Scott Pilgrim vs. the World becomes a fatal case of flash over substance. Pretty great flash, though.
I can only say that where some see shallowness, I saw a witty interplay of surfaces and style.
This one's geek heaven, a mash-up of comic books, computer games, grunge rock and slacker drama, all a little quicker and droller than anything of the kind before.
Audience Reviews for Scott Pilgrim vs. the World
In my now-prehistoric review of Gregory's Girl, I argued that coming-of-age film are both thin on substance and have a limited lifespan. Films as varied as American Graffiti, Dirty Dancing and Pretty in Pink all revolve around the same old stories of young love and heartbreak; the ones that last are not just those that evoke their period, but which contain some kind of deeper truth about the process of growing up. Being a married man in his early-30s who has long since come of age, it is difficult for me to say how good Scott Pilgrim vs. the World will look in another ten years' time, when the gaming world has moved on and young people no longer talk like extras from Juno. All that can be said right now, eight years on from its original release, is that this is the one of the best coming-of-age comedies I have seen in a very, very long time. For starters, Edgar Wright has managed to make a film about video games which doesn't feel like a video game adaptation. The plot on paper does seem like a video game: defeat a series of bosses to win points and get the girl. But unlike, for instance, Tomb Raider, the film doesn't feel like you are watching someone else playing a game and expecting you to be interested. The fight sequences feel like natural continuations of the story, and the character development in-between is a damn sight more complex and insightful than the swathes of exposition in something like Silent Hill. The film has an extraordinary visual style which is somewhere between Tron and Sin City. Like Tron, you feel at moments like you are inside a video game rather than just a spectator. And as in Sin City, the film retains a very literal comic book structure, albeit without the dull pomposity of Robert Rodriguez's film. The video game elements in both the design and content of the battles are used to complement and enhance the conflict; the powers gained and used by Scott and his foes do not become distracting goals unto themselves. Like the comic it is based upon, Scott Pilgrim jumps from one form of reality to another without warning. There are many flights of fantasy which are either poignant or hilarious, and the film explores issues of love and death with a fascinating alacrity. It makes no bones about its comic book violence, shooting the battles in a playful and entertaining manner with minimal focus on any lingering amount of pain. We still believe the characters are in danger, but as in Christopher Nolan's Batman films there is no real need to demonstrate their danger beyond stylised forms of suggestion. Several moments in the film really stick in one's mind. Towards the end, Pilgrim is 'killed' by Gideon, the last of the evil exes played brilliantly by Wes Anderson regular Jason Schwartzman. He finds himself in some kind of desert, identical to the dream in which he first saw Ramona. He then uses the 'life' he had gained before to replay all the previous events and finally defeat Gideon. Having the exes shatter into piles of coins when defeated is ingenious, as is the spectacle of sound waves forming into two dragons and taking on a giant aural gorilla during the Battle of the Bands. Despite its large quantities of geeky references to video games and the like, the film gets away with it for the simple reason that it doesn't take itself too seriously. So many other films with video game elements fail as much from being po-faced as they do from being plotless. For all its visual style, Silent Hill is not scary, and for all its seeming intensity, Max Payne is not exciting. Scott Pilgrim, on the other hand, has an incredible and knowing lightness of touch. It drifts like its central character from one scene to another, paying enough attention to follow what's going on while still finding time to escape into fantasy and have fun. The film is laugh-out-loud funny from beginning to end, with jokes coming so thick and fast that you struggle to keep up or breathe. The humour comes in all shapes and sizes, from physical slapstick to witty one-liners. We have Wallace, Scott's gay roommate, who hits on everyone's boyfriends and can seemingly text Scott's overprotective sister even whilst slipping into unconsciousness. We have Todd, the third evil ex, whose status as an arrogant vegan has given him psychic powers. We have the Japanese twins, who look like a bizarre marriage between Kraftwerk and Siegfried & Roy. And we have all of Scott's embarrassing verbal slip-ups, such as confusing 'love' for 'lesbians' and asking Ramona if she's into drugs. Jokes like this drift very close to the more putrid adolescent comedies, like National Lampoon's Animal House, Porky's or Superbad. But despite all the moments where we cringe at the characters' actions, Scott Pilgrim is not out to make us wriggle uncomfortably in our seats. The more intimate scenes, including those of Ramona in her underwear, are shot with an underlying sense of respect. The film treats its female characters on a level playing field, not just by demonstrating they can fight as well as the men, but by refusing to fall into the trap of laughing at their misfortune during the break-up scenes. In the midst of all its belly laughs and eye-popping visuals, Scott Pilgrim is a very tender treatment of young love, demonstrating not just how to get the girl but how to deal with the baggage that goes with all relationships. Both Scott and Ramona have issues with commitment, with the latter admitting that she went through a phase of being a total bitch. And like in Gregory's Girl, there is the faint suggestion that the girl Scott falls for may not be the one he is destined to be with. In the original draft of the screenplay, which preceded the final comics, he ends up with Knives instead. In defeating the evil exes, Pilgrim is not just standing up to other people's demons but also confronting his own insecurities, and in doing so gaining self-respect. The film genuinely conveys the sense of heartbreak on both sides which comes at the end of a relationship, and it doesn't pretend that our heroes are perfectly compatible and therefore destined to be together. Ramona's changing hair colour and tendency to withdraw at crucial moments both represents the fragile nature of love and encapsulates the modern age of complicated relationships and how hard communication can be, despite (or perhaps because of) new technology. The performances in Scott Pilgrim are all of a high calibre. Michael Cera, who can be annoying, puts in his best performance since Juno, taking his familiar dweeby character and refining it to make Scott genuinely empathetic rather than simply pitiful. Mary Elizabeth Winstead is terrific as Ramona, possessing a sense of mystery while being completely natural and down-to-earth. Kieran Culkin is hilarious as Wallace, and Brandon Routh is very good as Todd, turning in a performance which is a million times more charismatic than his work in Superman Returns. Scott Pilgrim vs. the World is one of the best films of 2010 and is destined to be a cult classic. It isn't quite a masterpiece, being slightly too long and feeling somewhat rough around the edges. It takes time to adjust to its peculiar execution, and it doesn't quite fail to put out Hot Fuzz as Edgar Wright's best film. But as a document of teenage love and insecurity, it edges out over Juno, and is therefore essential viewing for anyone in their early-20s.
though i haven't read the graphic novel seeing this film really makes me want to. Its definetly the most creative film ive seen in years. Great effects, hilarious jokes like the part where the chinese girl comes over and scott leaps out the window, it brings to mind the moment from the wizard of oz where the lion gets so scared that he runs out the window. i also love the use of classic video game noises such as the sonic the hedgehog ring collection sound, the mario shrink noise, and the zelda link to the past music and sound effects.
"It's not what you say ... it's how you say it, dearie." Words I've dreaded my whole life, that style wins over substance, but here's a film that argues just that point and definitely brings it's "A" game to the court, and frankly I'm left speechless. And this after a slew of films based on vidgames here at last is a movie filmed as if it were a vidgame. Simply a work of art, it will not go gently into that dark night of forgotten culture and might well be the one that all of the actors in it will be remembered by.
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