British director Edgar Wright works in an individual style that is fueled by measured tempos. His rhythmic approach makes him a sort of visual musician, giving his film a beat that is constantly manipulated and shifting.
An early example his developing technique can be found in Wright’s first foray in film, Shaun of the Dead, when Simon Pegg and his posse beat a zombie down with pool cues to Queen’s “Don’t Stop Me Now.” You can clap your hands to the whacks and smacks. His next film, the buddy-cop action flick Hot Fuzz, featured intricately choreographed violence that, at times, mimicked the grace of ballet.
Wright’s new film, Scott Pilgrim vs. the World, is his rock opera. The ultimate mash-up film, Pilgrim is a kung fu/Bollywood video game movie that is based on a comic book, with slivers of Star Wars mixed in for good measure. Wright’s film speaks directly to a generation raised with a game controller fused into his/her hand.
Deep in the suburbs of Toronto, Canada we meet our hero, Scott Pilgrim (Michael Cera), who has been emotionally stunted since his gorgeous ex-girlfriend, Envy (Brie Larson), left him. The mopey 22-year-old man-child has managed to move out of his parents house, but he didn’t make it far. Scott now lives directly across the street in an apartment he shares with his reluctant roommate, Wallace Wells (Kieran Culkin).
Scott occupies his time playing bass guitar for a garage band named Sex Bob-Bomb, whose best track is the declarative anthem “We are Sex Bob-Bomb.” The ever-important Battle of the Bands is fast approaching, yet instead of practicing Scott’s band mates are more preoccupied with his new 17-year-old girlfriend, Knives Chau (Ellen Wong) who is completely enchanted by everything he does. She’s too young, too innocent and Scott will inevitably break her heart. These concerns become immediately warranted once Scott lays eyes on the beautiful, mysterious Ramona V. Flowers (Mary Elizabeth Winstead).
Mr. Pilgrim drops everything to pursue Ramona who, with her gorgeous anime eyes and Technicolor hair, might just be the girl of his dreams and someone worth fighting for. Which is good because if Scott wants to date the lovely Miss Flowers he must first defeat her seven evil exes. He must face off against the likes of Lucas (Chris Evans), Todd (Brandon Routh), Gideon (Jason Schwartzman) and more in video game style duels that end with the loser bursting into coins (a la Super Mario Bros). It is a seemingly impossible task and Scott will need to level up if he is to finish the challenge.
Presented in glorious 2 dimensions, Scott Pilgrim vs. the World is a visual marvel that has depth and texture without relying on the 3D gimmick that dominates the cinema today. 
The cartoon action is filled with punches and kicks that can be seen as well as heard.
The film’s cinematographer, Bill Pope, was also behind the camera for the The Matrix franchise and Pilgrim shares a similar electric energy with that trilogy. Here, Pope ups the ante and pushes his eye-popping tricks even further. No one can capture flying fists like Pope.
Though, while Wright is focused on the look of the film, the characters suffer from lack of development. Everyone is plenty likable but have trouble connecting to each other, especially Scott and Ramona. It never seems clear if or why Ramona is interested in Scott, only a mere a shrug of the shoulders attitude towards their scenes together. Considering their relationship is the central conflict, it is a noticeable fault. It’s as if Wright wants to get to the good stuff and simply skips and skirts any real feelings. The story needn’t be deep, soul-searching territory, but it might have been nice to root for the two of them more.
However, these flaws are minor and the film as a whole is intensely entertaining. In Scott Pilgrim vs. The World, Wright perfects and utilizes his own personalized cinematic language, conveying concepts a thousand different ways while maintaining a consistent cadence and pulse throughout. The film is a modern and dazzling micro-epic and a sort of demi-musical for the plug-in and play generation.
4.5 out of 5
