Likely a bit “too much” for most people, especially at the time of its theatrical release back in 2010 when it painfully bombed, Edgar Wright’s ode to love and gamer-culture, Scott Pilgrim vs. The World, is an example of maximalist filmmaking, living in the same wild and crazy world as Tony Scott’s hyperventilating social critique Domino, and therefore, I absolute love it for its sheer gusto and cinematic exuberance. I was tempted to take another look at the film after the rollicking success of Baby Driver, and yet again, I was reminded how Wright really tips his aesthetic hat to Scott, while still creating pieces of work with their own distinct personality.
Michael Cera did the ultimate “Michael Cera performance” in this flick, playing a dopey, love-sick dude who has to literally fight for the heart of his dream girl, played with spunky, purple-haired attitude by Mary Elizabeth Winstead. Wright’s ADD-inspired style blasts the viewer in the face with a full-on assault of visual information, and in tandem with the brilliant cinematographer Bill Pope and whiz-bang editors Jonathan Amos and Paul Machliss, created a living, breathing video-game-turned-to-life movie experience that even non-gamers (such as myself) should be wowed by the technical virtuosity and multiple thematic ideas which are on display.
Review by Nick Clement