movie film review | chris tookey
 
     
     
 

Scott Pilgrim Vs The World

 (12A)
© Universal - all rights reserved
     
  Scott Pilgrim Vs The World Review
Tookey's Rating
7 /10
 
Average Rating
6.75 /10
 
Starring
Michael Cera, Mary Elizabeth Winstead, Ellen Wong
Full Cast >
 

Directed by: Edgar Wright
Written by: Michael Bacall, Edgar Wright Based on the graphic novel by Bryan Lee O'Malley

 
 
 
Released: 2010
   
Genre: ACTION
COMIC STRIP
ADVENTURE
ROMANCE
COMEDY
   
Origin: US
   
Colour: C
   
Length: 115
 
 


 
MIXED Reviews

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As the lead, Cera, who's become seriously typecast, gives what may be his best performance to date. Though he inevitably resembles the awkward, casual persona he's notorious for, Cera ultimately surpasses that role by embodying a far less whiny character who, moreover, masters some well-choreographed fights. That said, Kieran Culkin is Wright's standout, playing Scott's gay roommate. Besides executing hilarious lines with pure wit, he has a way of acting as the go-to-for-advice guy without making his lines feel contrived or preachy. Other than appealing to a limited demographic, the film's only real misstep lies in the somewhat underdeveloped relationship between Scott and Ramona, as Wright doesn't take time to make the connection as convincing as it could be or completely justify why we should care about its outcome. This flaw, nevertheless, doesn't make his film any less effective, because not only is it superseded by visual artistry, but this kind of romance doesn't require depth; it's juvenile, irrational, adventurous – while at the same time totally pertinent. And such is the spirit of Scott Pilgrim vs. the World.
(David Roark, Dallas Morning News)
Scott Pilgrim is a young guy who has a serious identity crisis. And so does this movie. Which can't seem to decide whether it's a flippant sketchy teen angst weepie, or your basic flamboyant movietoon..
(Prairie Miller, NewsBlaze)
An imaginative package but one filled with too much cartoonish fighting.
(Harvey S. Karten, Compuserve)
An example of attention-deficit filmmaking at both its finest and its most frustrating.
(Peter Debruge, Variety)
You have to admire the visual invention Wright has poured into the movie, even in the opening titles. There are lovely sequences of walks through the empty, snow-covered Toronto streets and one faux sitcom scene, complete with laughtrack, to accompany all the high-velocity dialogue scenes, sight gags and spectacular action set-pieces. What’s missing is anything beneath the eye-catching surface. Even a picture like 500 Days of Summer, which also put a hip modern spin on how romance doesn’t run smoothly, had some heart. Scott Pilgrim is too cool for that — or at least thinks it is. Its attitude is relentlessly smug and superior, and as a result while you have to admire the craftsmanship, in the end its effect is ephemeral.
(Frank Swietek, One Guy’s Opinion)
The plot starts slowly, but finally gets up to speed in Scott's fight against Ramona's first ex, the Bollywood-dancing, fireball-hurling Matthew Patel (Satya Bhabha). It's five minutes of pure geek bliss. Anyone who's waggled a Street Fighter arcade stick will get an almighty tornado-whirlwind-kick out of the battle, with its mid-air combo punching and excitable computer voiceover. But that... is about it. Scott Pilgrim Vs The World has played its hand. And there are still six more exes and five more battles to go. From that point on, Scott Pilgrim gives you precious little else to get excited about. The characters are paper-thin, unrelatable irritants. The plot's repetitive in the extreme. There is no trace, anywhere, of a soul. None of which is helped by the presence of the enragingly miscast Michael 'Me Again' Cera. A man who can only play one role in the first place: Michael Cera. So when he's required to bring something else to the table - as he is here - the table's as empty as a wedding buffet five minutes after Eamonn Holmes shows up.
(Robbie Collin, News of the World)
Scott Pilgrim is an intriguing picture for being so exotic and eccentric, and for aligning itself with the style and structure of a videogame rather than a film: following not conventional narrative arcs, but a series of game-levels and flavouring this sequence, not with the usual dramatic reversals and character-development, but with an open-ended comic shtick. My only reservation is that Wright could have afforded to relax a little more, to take his foot off the pastiche-pedal and give his comedy more breathing space. Having said that, this is an entertaining and distinctive display of technique, an exhilarating demonstration of film-making IQ.
(Peter Bradshaw, Guardian)
The stylised effects are cute at first like the little meter that appears on screen when Scott visits the toilet, and gradually empties as he relieves himself. However, the bombardment lasts for almost two hours and by the end of the film, we feel almost as exhausted as the characters.
(Catherine Jones, Liverpool Echo)

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