Scott Pilgrim vs. the World review: Would you like to play a game?

Generally when I sit down to write a film review, all full of either giddy joy or anger at the two hours that have just soiled my eyeballs, I try to maintain some level of formalism with my writing. After all, it’s what sets the professionals apart from the amateurs, your ‘Empire staffers’ from your ‘Ain’t-it-Coolers’ if you will. Yet after seeing the unbridled creativity of Scott Pilgrim vs. the World it seems somehow inappropriate to reign myself in with such boring restraint, so for the first time I am going to attempt a stream-of-consciousness review. Yes, for the next few hundred words or so, I’m going to get all James Joyce on your asses.

‘Scott, if your life had a face, I would punch it.’

So Scott Pilgrim then. Based upon a series of graphic novels written by someone whose name I can’t remember, but that I’m pretty sure is vaguely Irish (Bryan Lee O’Malley - later ed), Scott Pilgrim is director Edgar Wright’s first foray into big-budget Hollywood film-making after the cult successes of Shaun of the Dead and Hot Fuzz. Despite not featuring Sean Pegg and Nick Frost, part of a team retained from TV series Spaced, much of Wright’s unique visual style remains in place; namely frantic editing and visual ticks like a highly caffeinated Evil Dead film. The film’s plot hinges around hero Scott as he experiences the trials of young love with new girlfriend Ramona Flowers; ex boyfriends, getting to first and a half base and learning how to get rid of your flatmate when you need some sexy time. Except in Pilgrim’s world the exes genuinely want to kill him, getting to first base is difficult when his girlfriend spends half the time using his head as a sub-space portal, and the flatmate is gay with only one bed to share. Are you keeping up so far? Add in a band that may or may not suck, and is named after a Super Mario baddie, and you have the most original movie of the year. Welcome to Scott Pilgrim vs. the World.

‘You just headbutted my boyfriend so hard he burst.’

Michael Cera breaks out the awkward geek routine again to play the lead character, but Scott Pilgrim is a more physical role than usual for Cera and he does admirably in both comedy and action scenes. It’s to his credit that come the end of the film you will fully believe that he can kick serious ass, all memories of George Michael (well, most) banned from your mind. His love interest, Mary Elizabeth Winstead as Ramona Flowers, is equally charming and is sure to have plenty of guys leaving the cinema asking their girlfriends how they feel about electric blue hair dye (personally I dig the green look). Aloof, but without veering off into Zooey Deschanel kookiness, Flowers isn’t the only romantic interest in Scott’s life. The film starts with previous girlfriend Knives Chau still very much in the picture, and such is the pure wonderfulness of actress Ellen Wong that many viewers will be torn about who to root for Scott to end up with. Seriously, if I ever find myself at a point in my life where I have the choice whether to go for the cute as a button 17 year old or the gorgeous and impossibly cool girl next door then I will know that I have done right somewhere along the winding line of my life.

‘Kick her in the balls!’

All of the supporting characters are played pitch perfectly, from Kieran Culkin as gay flatmate Wallace Wells to Johnny Simmons as Young Neil. Then there are the seven evil exes, each of whom Scott has to face in combat to win the heart of Ramona. With the exception of the twins each character is fleshed out enough to give sufficient character to their battle scenes, and I would pay good money to see any of Lucas Lee’s (Chris Evans) fake in-movie movies. Brandon Routh will remind everyone just why he was cast as Superman, and if he never gets to wear the red cape again it will prove to be one of cinema’s great travesties.

‘You punched the highlights out of her hair!’

The battles against the exes are highlights of the film, each one different from the rest to prevent tedium setting in. From the opening Bollywood-blast to the final flame-sword showdown, they are balletic, musical, and superbly choreographed affairs, completely over the top and filled with wonderful touches; upon being defeated each ex bursts into a shower of coins, video game style. Video games are a recurring motif throughout, with a great twist on the opening Universal logo that will have Mega-Drive heads like me grinning from ear to ear. If you can spot all of the sound effects that have been sourced from console classics like Zelda and Sonic, then you are my kind of geek.

‘We are Sex Bob-Omb and we are here to make you think about death and get sad and stuff.’

And then there’s the soundtrack! Wow. When Edgar Wright stated how important the music was to the film he wasn’t kidding, staking his place as one of the great users of music in modern cinema. Highlights include the the original music written for Sex Bob-omb and rival band Crash and the Boys by Beck, all spot-on Indie pastiches that rock in their own right. Someone important needs to make Guitar Hero: Scott Pilgrim happen NOW.

‘Gelato is eggs and cream, bitch!’

It all comes together to form a whole that is always in danger of going off the rails, but simply works in a way that is impossible to define. It is part musical, part action, part romantic comedy, part art house, but all kinds of awesome. There are some films that come to define a type of people, films like Easy Rider that become almost a buzzword for a specific social movement, and for the 8-bit generation Scott Pilgrim vs. the World is that film. Now if you need me I’ll be blowing the dust off of my Legend of Zelda NES cartridge...