Scott Pilgrim Vs. The World (2010)

Treating itself, livewithfilm decided to revisit a favourite today. Edgar Wright’s Scott Pilgrim Vs. The World is an immensely enjoyable piece of cinema, blending genres as it looks fondly back on the hallmarks of a generation. Surprisingly, Wright’s film never succeeded at the box office, underperforming by some distance. Whilst pitching itself perfectly to a particular age group (early twenty-somethings with a working knowledge of gaming/comic book imagery/the scuzzy feel of a dingy gig venue), this specificity potentially alienated audience members not in on the joke. Nevertheless, the fast paced humour and witty references make Scott Pilgrim Vs. The World a treat for those looking for imaginative filmmaking.

Scott Pilgrim (Michael Cera) is a twenty two year old jobless Canadian whose aspirations rest with his three piece band Sex Bob-omb. That is, until he falls for the girl of his dreams, Ramona Flowers (Mary Elizabeth Winstead). However, in order to woo Ramona, Scott has to defeat her seven evil exes. Contending with his insecurities, this bass playing drop-out must meet and battle film stars, flying lesbians, record producers and Japanese twins for the love of his rainbow haired sweetheart.

Scott is perfectly created by Michael Cera. Hardly playing beyond expectations, Cera manages to infuse the character with all of the alienation and wit you’d expect. Painfully familiar for those the lighter side of their thirties, Scott is a bundle of nerves and remorse, a protagonist to root for as one of your own. Yet Cera does not carry the film alone and is surrounded by a cast of hilarious characters-come-recognisable-types. Ellen Wong remarkably recreates the film’s comic book origins as Knives Chau, contorting her face until it perfectly envisions a sketched cell. Kim Pine’s turn as band drummer Alison Pill is exceptionally dry, whilst Mary Elizabeth Winstead keeps Ramona seething and mysterious. After all, the female leads hold the greatest sway over the film, essentially dictating the course of the plot and delivering some of the sharpest dialogue (‘We are Sex Bob-omb. We’re here to make money and sell out and stuff!’).

Combining video game symbolism and garage band sensibilities, the imagery of Scott Pilgrim Vs. The World is the film’s major draw. A vision of pixellated samurai swords and flashing high-scores, the film relishes its breathtaking originality. The music (mainly written by Beck) thrums out of grotty venue amplifiers, providing an authentic soundtrack to these characters whilst infusing Scott Pilgrim Vs. The World with an effortless cool. For the film manages to be simultaneously stylish and endearing. Wright creates a film without the swagger that exudes charm. Whilst the final sections are slightly baggy and occasional jokes fall flat, Scott Pilgrim Vs. The World is undeniably charming. In the words of Knives Chau, I heart you Scott Pilgrim.