There are few things as exhilarating as having a complete set.
And having a roommate who has just taken the plunge, and has responded as well as she has is a definite highlight of a more laid back summer season than usual. To know that O'Malley's long-awaited finale is in the house, a week-plus before Edgar Wright's adaptation is unleashed beyond the Comic-Con crowd. (Which has largely been positive over Twitter. And Drew McWeeny's early review is quite glowing.)
At the moment, I'm essentially waiting for the roomie to catch up before re-reading, so at the moment, I'm am working off of years of recollection. The comic's impact, for all of its scrappy glory functions as a beautiful reminder of a particular time frame in my own life, and of likely so many others. And as such, the piece works as that bridge between the gears of idle and active. This entire concept is a universal part of Edgar Wright's filmography.(Shaun Of The Dead in my eyes, remains a classic simply because of its own deeper concern with detaching from the womb in a realm packed with overgrown children) Upon hearing of his decision to take on Pilgrim, it was hand and glove. Few other visualists can nail the hilarity and pain of growing up with such vigor. And even as a larger audience unfamiliar with the snark-biting alterna-hipster world of the comic, the vernacular of Wright and company should help it transcend mere cult status.
As much as I had feared for its box-office chances previously, in a place where INCEPTION can become a runaway success, almost anything seems possible.
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