The World's End (2013) Movie Thoughts

One time would-be high school legend, Gary King hasn't changed.

A relic of the late 1980s-early 1990s, a near-mid-life King is suddenly infused with a zealous passion to seek out his long-since distanced buddies in hopes of "getting the band back together", and traveling away from London, to quiet Newton Haven. The mission: finishing an epic-sized pub crawl with minds(and perhaps bladders) intact. Problem? Unlike his more successful friends, Gary is seen to have quite a problem with not only addiction, but an almost toxic reliance on nostalgia to fuel him on. Still donning black clothes, as well as his old Sisters Of Mercy regalia, his life has seemingly been on pause for more than two decades. Now more invested in reliving the past than ever, things take a sinister turn when not only have the once lived-in comforts of Newton Haven given way to a homogenized shell of its former self, but the locals seem to be acting more than a little..well,..mechanical. Nothing ever stays, which seems to be high on the minds of older cineaste comrades, Edgar Wright, Simon Pegg & Nick Frost as they bring their so-called Cornettos Saga full circle.


Fair warning, unlike the style and gag heavy openings of both Shaun Of The Dead, and Hot Fuzz, The World's End takes on what many might consider to be something of a methodical departure. Gone from the film's prologue sequences are the rapid fire editing, as well as a frenetic energy that punctuated those previous. And what comes about in its stead, is more akin to a truly squirm heavy setup involving Gary's drive toward rallying up the boys for this singular night of liver devastation. From seeking out his mousy, unusual buddy/ son of a car dealer, Pete(Eddie Marsan), to digging up his old musician buddy in arms, Steven(Paddy Considine), signals immediately fly above that things had long been buried in the past, with the hopes that they would stay as such. This is made even moreso upon his visit to his nervous, dressed to sell real estate pal, Oliver (Martin Freeman), where the tension begins to reach taut proportion. The back and forth between Gary and his long lost mates paints a troubling picture of his relationship to the man he most perceived to be his best..Andrew. So when time finally comes for Gary and Andy (Frost, now a corporate lawyer) to catch up, it's pretty solid that a rift between them has festered for some time. There's no doubt here that this once stalwart partner has now seen life well beyond that of Gary's incessant need for near infantile notions of freedom, and will hear of none of these impulses anymore. The rhythm of these scenes whilst still funny and observant, contain with them a queasy quality that has up until now been in carefully patched corners of the previous films.

 It is as if there is a deep need for Pegg, Frost, and Wright to look into a darker abyss than they had been privy to before. In fact, the one most likely culprit for this stylistic feint is to capture the vibe of oh so many popular UK films of the 1990s centering on elder men reaching into the past to feel vibrant once again. So when it comes to the boys here, and the legendary Golden Mile gone awry, it all feels natural.

And yet, despite the weirdness that welcomes them on their alcohol-laden quest, this only seems to bolster Gary's drive to complete it, all the way to the eighteenth local bar known only as The World's End(because after a sudden altercation with the machine-like humanoids, perspective must chime in). Dragging Andy, Peter, Oliver, and Steven along the way in hopes of not looking too conspicuous, the fights and chases begin coupling one upon another until either these once good friends are assimilated, or just plain torn apart.  It is roughly around this section of the piece, that the recognizable Edgar Wright signatures begin in true earnest. His flare for symbolic, stealthy comedy, and blistering action (largely courtesy of choreographer, Brad Allen who also worked with Wright on Scott Pilgrim) is in full force as the crew takes on a familiar looking run across town in hopes of surviving the night. And all the while, Andy (now a water-drinking teatotaler) fumes at what has become of his one-time friend. This is made all the more complicated as we come to learn of how matters had come to such a sorry state. Soon, it becomes a dual race of sorts; one between our protagonists, and the town, and the other between Andy versus Gary's fleeting sobriety.

And if this isn't enough, matters are tangled even further when Oliver's sister, Sam (Rosamund Pike) visits the boys, only for us to discover that old feelings truly die hard. (And with our lead finding himself unable to shift out of high school mode, matters are made marginally more awkward.) With the introduction of Sam, we are now witness to greater examinations of Gary's stunted nature. When she delivers what is some of the film's most telling dialogue to the face of a man so desperate to hold on to what has clearly past, it's both funny and unquestionably painful. Akin to growing pains long avoided.

All part of a buildup to a finale that may come as a shock to some ready for more of the same zaniness we have come to expect from these movies. When everything comes to a head here, it truly does come out swinging, bloody knuckles and all. And it's especially tricky to pull such a thing off when considering that all three films exist in completely unique universes. We have grown to laugh and love the two main stars, and do not wish for something like this to happen between them. And that is exactly what Wright is going for, as it becomes more and more apparent, that this is possibly the most personal of the three films. That this is about the worst parts of our current generation of adults, and how susceptible this perhaps makes us unto almost Starbucks-sipping pod-people living in a dot-commified Appleverse.

Perfect for a finale involving the nature of temporal shifting, the robot-like villains of the piece represent another form of extreme that the previous movies had yet to explore. Unlike the hyperviolent armies of zombies, and rabid conservatives of the last two, there is an eerie prescience to all that are these mysterious, blue-blooded automatons. An obvious jab at the recent spate of globalized lifestyle marketing and architecture, it makes for the perfect adversary for everything that Gary stands for, even if he had never considered it in any real sense before. This stabs at the heart of all three films, as they are bound by viewing growth as something that can so easily go off the rails if bound by any extreme amount of activity/inactivity. It seems that in the years since SPACED!, and near nine years since Shaun (Hard to believe that as fact at this point), Wright & Pegg specifically seem particularly alarmed at an England that is being lost in a cacophony of cultureless artifice, often in the guise of a benevolent new infrastructure. Almost a modern spin on the Body Snatchers mythos, while the most ordinary of us both ready for change, but not enough to warrant facile, cattle-like servitude.

But the film's biggest, most effective weapon is in its cast, and how well everyone handles the madness from slow-burn to full tilt apocalypse. The most potent surprises being Marsan and Considine, who embody both classic chum archetypes, and infuse them with a sensitivity and sense of real longing that only gives the whole chase a great amount of juice. Marsan's Peter is a quintessential underdog, teeming with his life long written in for him, and an unexpected amount of trauma that sneaks out in even the most absurd sequences. And Considine's Steven, while having something of a more relaxed life, is one of unrequited feelings, and a chance to seal something that has long been neglected while Freeman's Oliver, is a great parody of the definitive modern man, complete with earpiece,perfect hair, and a strange utterance to all the weird that surrounds them. And when Pike comes along for the ride, she becomes something of a center for the bunch, a character that could be more on the page, but is just enough to deliver some great emotional weight for the other.

And all of this is great backup band work for what is easily the most challenging work Pegg and Frost have done on film thus far. One of the most unique phenomena surrounding the films they have made with Wright, is how they can wildly juggle wild, referential farce, and still find room for human drama and thematic density. And this is largely due to the natural chemistry that so many have grown to appreciate over the years. So when the two decide to play characters that are easily the most empathy-challenged they have played to date, it becomes crucial that there is a careful set of reveals throughout the running time in order to pull everything off. It has to be virtually mathematical, and somehow, Wright has done justice to these performers by creating something that is not only funny, and energizing, it is also appropriately moving. It's a long friendship taken to an illogical edge, and it is terrific work.


Taking a close look at what director Edgar Wright has been slowly constructing over his last decade plus worth of film and television work, one might see the vision of an individual not merely caught up in the minutiae of popular culture. His films are not mere exercises in pop culture revelry. Even as a lot of what led to what we know of him though his films seem littered with reverence to genre works of a specific generation, there is also a great amount of effort made to best understand the things that make this generation tick, for better or for worse. Especially in the works he has written along with Pegg, it tends to seek this wild balance between knowing the landscape, and questioning what allowed it to shape in the first place. And with World's End, we are host to the most harrowing side of this conundrum. Where a yearning for balance is prime, and that perhaps a small manner of sloth may well be the key to figuring out more colorful solutions. With the tale of Gary & friends in Newton Haven, matters are drawn to a close in a mostly sure-handed manner. If it finds itself in any trouble, it is in the final reel, where it becomes unclear as to where the ideas might just be coming from outside the personal.

And while this means the Three Flavor Cornettos has come to an emotionally satisfying, often deeply funny close, something tells me that the trio of Wright, Pegg, and Frost will have plenty more to share with us in due enough time. There seems to be far too much creative juice left in these guys to stop now. If anything, The World's End feels like a herald to a whole new stage in the careers of these three, and I can't wait to see what's to come.

(Oh, and one more thing. Pub names as chapter stops is a pretty fun idea. Should make for another terrific easter egg for when the Blu-ray comes around.)

The Adventures Of Tintin (2011) Movie Review

Yes, the original plan was to post a few days from now. But I would be remiss if I didn't share several words regarding the newly released supergroup project based on Georges Remi (Herge)'s legendary comic strip creation, The Adventures Of Tintin. The much-awaited collaboration between Steven Spielberg, Peter Jackson, and featuring a script by Steven Moffat, along with Edgar Wright & Joe Cornish, offers a rip-roaring example of what is possible with three-dimensional animation technology melded properly with the very idea of bringing a comic character and his world to life. It's a seamless marriage that showcases much of what has made The Beard the cinema legend has has been for so long, and at the same time plays well with the source material that served as an inspiration for so many filmmakers of the past. It is also evidence that perhaps it was necessary for technology to reach a certain point in order to best sell certain storytelling approaches. For every time a movie fan decries a nuclear test sending a refrigerator into the sky, only to land, open and spilled out our hero unharmed as he continues to stare at a mushroom cloud a distance away, it is filmmaking such as this that can sell it, and work. Suddenly, the story takes center stage with the spectacle. Something that has often eluded fantasy film since the advent of computer generated effects. And as recently mentioned, had the story not been so well conceived, such an event would hardly be as potent..


Tintin is a young , Belgian reporter with a penchant for adventure who is again tumbling into trouble over a rare model replica of a lost at sea ship known as The Unicorn. With his semi-reliable Fox-Terrier companion, Snowy, things become ever more complicated as dangerous parties are relentless in the secrets that lie within the model. Complications which eventually lead Tintin into meeting the near-washed up drunkard ship captain Haddock(Andy Serkis), ultimately setting off a chase around the globe against the nefarious Ivan Sakharine and his gang, also intent on unlocking the secret of the Unicorn, while using the wayward helmsman as key. Also along for the ride, are geek royalty, Simon Pegg and Nick Frost as the hopeless duo from Interpol, Thomson & Thompson. Straight out of three of Herge's book collections, The Crab With The Golden Claws(1941), The Secret Of The Unicorn(1945), and Red Rackham's Treasure(1945), Spielberg and company fashion a wildly entertaining cross between loving tribute, and adventure romp on par with one of the famed director's most beloved genre legacies before a certain Crystal Skull came to prominence.


Without delving any deeper into what in many ways is a simpler plot than the twists suggests, another arrow in the quiver is in just how much Spielberg and company are finally able to experiment with the motion capture technology in ways that not only drive the thrill level up by notches, but enhances the very concept of what it is to be an observer in a film. Geography and setup are key elements in delivering what are an impressive array of comedic and action sequences that deliver as much character exposition as raised hairs. The prep work must have been both liberating and punishing, as it become clear that the tools are being utilized to their fullest, even in ways that eluded James Cameron a few short years back. It's rare when we get this much direction in a film that contains as much slapstick and non-verbal action these days, and Tintin offers a textbook example in how much one can learn about characters merely by their actions. Great moments include our hero's "trusty" dog, Snowy, and his tendency to be distracted, and Captain Haddock's bumbling becoming a boon rather than an obstacle when held up near an dangling lifeboat..Perhaps the largest, most impressive example is the dizzying downhill chasing of a raven down the hills of Bagghar. It is an Indy special gone Rube Goldberg berzerk, and could only be done now. And in 3D, it is only made greater.

Again, as an honest to goodness adventure film, this is much less about nuance and character, but what is present is a bounty of wonderful performances by Jamie Bell, as a wide-eyed and likeable Tintin, and Daniel Craig(another Bond gone bad for Mr. Wright?) as Sakharine. But the biggest triumph (again) is the lovely work of Andy Serkis, who grants Haddock three dimensions that even the current CG couldn't do on its own. It's a winning role that cements the character as one of my favorites of the year. And as much of the story operates on a move, it's surprising how far an old school storytelling approach works when played perfectly straight. And seeing as how this is planned to be a series, the only misstep might have been the very end. But even at that point, the characters have proven themselves so likeable, it becomes hard to fault it when the adventure has only just begun. 2011 has ended with an unexpected bang. One that thrillingly answers some long elusive questions about approach, and challenges what we've known about adaptations. It's a welcome melange, and possibly Spielberg's best pure balls-out adventure film since Indiana Jones and the Last Crusade.

In Defense Of Scott Pilgrim's Detractors

After a most recent rewatch of what has over the last year and a half become one of my favorite mainstream films of the last several years, it finally came to my attention that there are other reasons why even those who finally got around to catching Edgar Wright's adaptation, and disliked it, or just felt outright ready to dismiss it. Stylistics & Michael Cera overexposure aside, there are some elements embedded in the film's approach that can easily be seen as ripe for ridicule, or dismissal. And while some of it may lay flat in the lap of the original source material created by Bryan Lee O'Malley, there is a bit of reality play that at times comes at the expense of what some audiences expect out of their central characters. Especially when the film almost defiantly asks the audience to laugh along with an anti-protagonist who's greatest triumph come when it barely steps onto the front porch. Mix this with a virtually cold, unsympathetic (to many) object of affections, and it is hard to identify with many of these characters on an amiability level...But many might still know many of them.

As mentioned in my review back upon it's release in August 2011, one of my minor gripes about the film was how this rendition of events gave the character of Ramona Flowers not only a more tattered, damaged demeanor, but little in the way of character agency, particularly near the finale when she reveals her reasons for returning to her last "evil" ex in the form of Gideon Graves. The addition of a computer chip implanted at the base of her neck, rendering her incapable of escaping the douchey record producer continues to come off as a sleight toward what was once a more bright, assertive, and understandable character. BUT - When taken in the context of the film, which is nearly completely taking place within Scott's ADDled mind/skewed imagination, it serves to support his view of Ramona, which goes all the way around to inform what some viewers are and are not willing to follow in a film of this size. Where the original comics spent more time wavering in and out of Pilgrim's head, revealing the reality of a world moving on without him, the film is much more comfortable within the silly, exaggerated confines of an aloof imagination.

It is this helplessly myopic worldview that at times comes at odds with the expectations of many. And even I, as a viewer couldn't help but notice it. But what always balances it out with me is in how Wright and co-writer, Michael Bacall granted the Knives Chau character enough of an arc to see through her erstwhile ex-boyfriend's irresponsible actions, going from a child to a self-respecting young lady. She becomes everything Ramona and Scott can't seem to get right. The near-stealthy manner in which the "middle-character" becomes the real protagonist is something of a kick in the pants to many to the point that some often don't even see it. It is missing these elements, and perhaps even disliking who are supposed to be the central characters that can fuel much of the divide between fans and detractors of the film. But what I do love about the film aside from it's eye-popping presentation, energy and musical editing, is the fact that it DOES make it clear that this is very much a parody of every mumblecore film ever made where the characters are blinded by whatever short-sighted selfishness the film demands of them. It dares those of us surrounded by subcultures to seek out the real behind the attitude, and is a reminder of what could be lost when we buy so much into the collective images of any pop-culture era.

Attack The Block (2011) Review

                                

When newly relocated nurse, Sam is walking home from the train station, and into the darkened streets of Lambeth, she is faced down by a hooded gang of would-be toughs, and is mugged. And as the robbery drags on into the fireworks laden Bonfire Night, what looks to be a straight-shooting comet bursts into a car near them, breaking up the vehicle, and allowing Sam to escape. Naturally startled, and curious, the boys, led by the imposing Moses(Joe Boyega) decide to look into the damaged car in hopes of seeking loot, when what comes from out of the crater is roughly the size of a small child, and seems far from friendly. The ensuing struggle leaves Moses' face injured, and instantly leads to the entire crew cornering the little beast, and unleashing the small-town beatdown, killing it. And as the boys flaunt the creature's corpse by taking it back to their elders in block-leader Hi-Hatz, along with local drug-dealing Ron in hopes of making bank off of this unprecedented discovery, unbeknownst to any of them that their troubles run deeper than trying to impress the local kingpin. Outside, a small army of the beasts in adult form are amassing, and ready to wreak intergalactic havoc on this broken down South London council estate. But not without a fight. (with fireworks, baseball bats, swords...etc..)

Coming into this film, and witnessing it all unfold, growing up in none-too-prosperous neighborhoods came center stage. Right on to where I happen to live now. You see, from the outset there was instant identification with the world of this as someone who has experienced a mugging, and been looking to better understand the plight that leads one into a situation such as this. The divide between victim, and perpetrator can sometimes be a blurry one, when the discussion deepens. And having also grown up in areas where local kids create something of a pecking order based on who would make the best footsoldier, and the small fries just looking to be respected by anyone- parents notwithtstanding, is something of an urban reality that many are not familiar with, but is a daily one for many. And one of the many things I appreciated from the getgo from Joe Cornish's writer-directorial debut was that none of this comes off as anything less than the dystopia of contemporary life. Which only makes the more cartoonish element of an oncoming alien invasion that much more interesting. When the block is all one knows, or cares about, outsiders are likely put upon, or warded away with a glare. It is the kid life of AKIRA, only it isn't in some near-future Through The Looking Glass version of Showa-Japan.

Set in a South London projects area over the course of one fatefully haywire night, the boys we are stuck with aren't the most ideal of heroes, and would sooner take on the alien horde with mischievious glee than ever try to comprehend what exactly is happening. Along with fellow teenage punks, the prideful Dennis, would-be charmer Pest, reliable Jerome, and mama's boy Biggz, their troubles go triple bad when not only do they have to contend with the alien menace, but even the nurse they attempted to victimize this evening, as well as the ridiculous Hi-Hatz who refuses to buy into this...um....problem. Once the true threat is revealed, and our boys are forced to enlist the help of someone they had just mugged, we are in thematic territory that raises the bar for films of this ilk. The film has quite a bit for viewers to chew on regarding not only urban plight in a most unexpected place, but of what it means to live diametric lives whilst amidst economic and social pressures. Even as ATB doles out some truly exciting action & editing, granting us a peek into who the kids are, it finds the time to inform how each half lives, all bound together by how they and authority figures look at each other with fixed distance; never knowing the full story.

This is best evidenced when both the alien plot and Sam with police set out to finger the boys who recently attacked her converge. The themes of action and responsibility weave around Sam's natural instinct to make sure justice is done, and Moses' decisions which have created something of a fateful web for all around him. It isn't very long before it is made clear that within the titular Block, very few actions go without consequence, and that a lack of community is tantamount to greater despair. And it is within this clevery executed framework that Attack The Block strives for more than a special effects romp with kids as the protagonists, and with a roughly miniscule budget, goes all out in delivering the scares & laughs with just the right amount of sincerity. It embraces the dystopia of now, and makes its points without ever feeling wooden save for one tiny moment, and even then, the action kicks right back in again to remind us of the film's genre roots. It's a tricky balancing act that works not unlike the amazing soundtrack implies.

Performances are solid throughout, but the biggest revelation here is with Boyega's who's troubled Moses makes for a truly credible anti-hero, who's arc binds the film entire with a quiet, hard-bitten vulnerability that is rare for young actors. One can easily see him as the one the local little fish look up to, and yet has troubles clearly his own. And as the rest of the boys deftly deliver their individual circumstances, it is all done on a move, which is something of an astonishing achievement. With everything else happening throughout the film's short running time, we are privy to who they are, what they offer to the group, and makes for a uniquely diverse look into an urban life we rarely see in mainstream film. It is refreshingly tangible, and feels light years less put-upon than so many youth-based genre films of the past and present. Also delivering great presence is Jodie Whittaker, who's Sam is something of the film's initial identification figure. Not to mention the ever welcome presence of Nick Frost as the ever-disconnected Ron, and Luke Treadaway as the potentially smart, yet hopelessly off-the-grid, Brewis. But again, the film belongs to the kids who ground the film in ways unexpected.

So merely labeling this 90-minute ride as little more than an Edgar Wright, Nira Park produced comedy in the ranks of Shaun, or Hot Fuzz is a misnomer, and doesn't do enough justice to describe just how incredibly cool & illuminating Attack The Block is. It is as much a film that harkens back to the latter days of Spielbergism & Fred Dekker's Monster Squad, as it is its very own complex creature. A monster actioner with a brain and a heart that demands to be experienced.

Re: The Sucker Punch Trailer & A Scott Pilgrim Bonus!

Without going into too much detail regarding my er...attitude toward the latest trailer of Zack Snyder's first non-adaptation/remake, Sucker Punch, it just didn't connect (hic) in any way this time. All I saw was a succession of pretty images set to a poorly edited audio track, only made more painful by dead/campy delivery which seems to be either intentional, or a product of Snyder's signature laziness with actors. And considering that Snyder's reputation thus far has been in helping create some memorable trailers, it is quite a disappointment to witness. Perhaps the previous teaser was boosted by using an old club favorite of mine from the 90s? Anyway, from opening setup of our heroine's plight, it is almost completely killed by the obviousness that the acting is going to be this mean hurdle ala Malin Ackerman, again. it is as if Snyder himself regards his actresses almost solely as window dressing, and cares very little for squeezing out any believability, or even emotion fro his performers, which is sad considering the imagery on display. The disconnect instantly works like a scratching LP, it just doesn't work. And with the grand stuff on display, it feels no less like another big budget video game commercial with very little appeal for me. So if that makes me seem like a soulless downer, then perhaps one may be right.

But I just want this guy to deliver something beyond a cool trailer for once, and if this is the best he can muster, I can't help but worry.

So what does it take to start November off with a bang? Celebrating DVD/Blu-Ray release of some cult faves, perhaps? Especially when it is pretty clear that Hollywood had themselves another one of these esteemed few within their grasp late this summer, only to expect it to be a clever blockbuster. Of course, again, I'm speaking of Edgar Wright's adaptation of Scott Pilgrim Vs. The World, and just felt like sharing some video I took at an event that took place at the Grauman's Egyptian in Hollywood this Monday to a packed house. Featuring super cool host, Guillermo DelToro and Mr Wright himself, they not only chatted up a storm regarding the geneses of the film, and the kind of obsessiveness required to make such a one-of-a-kind film experience. (Not to mention Mr. DelToro's colorful vernacular that reminds me of family.)

The video here is the introduction from both directors who have a little surprise for us admirers of the film!

Scott Pilgrim Vs. The World (2010) Review (and more regarding the comic)

When 23 year old Toronto native, Scott Pilgrim(Michael Cera) comes across what could very well be the girl of his dreams(literally), the currently underaged girlfriend he's been dating may soon be the least of his problems. Oh sure, there's the issue of no job, no real room of his own, and the lack of any college to speak of, the trouble comes in perhaps the worst example of partner-baggage imaginable, the rogues gallery of exes from this dream girl's past. Upon meeting her, it's clear that the stylish and mysterious Ramona Flowers comes with a fair share of battle damage, but when it appears in the form of near-rampaging, kung-fu kicking lunatics out to make poor Pilgrim's precious life of a bass-playing slackmaster into a Rumiko Takahashi nightmare on LSD, it becomes time to make a choice, and stand up for a dream calling.

And so with the film version of Bryan Lee O' Malley's chibi-epic comic series finally out on screens, I felt it best to come clean on certain views I withheld from my previous posts regarding the books. As much as I did in fact enjoy it overall, it does come up short in a good many places. By the time the third book came out, it becomes apparent that the narrative is splitting into fragmented plotlines to help amble it toward six volume conclusion. And the effect is at times lacking in the immediacy department as Scott's confrontations with Ramona's "Seven Evil Exes" become increasingly scattershot at times, and filled with idiosyncratics that are hit & miss, and ultimately detract from the core attractions of it all for me.

 And while the books feature some quite-astonishing battle sequences that pop from the page to great effect (Scott's battle with Todd the vegan is especially memorable), not enough fuel is given for us to feel that the metaphor for both Scott & Ramona is anything more universal than it could be. Then again, that is likely the point. In that respect, a lot of the latter volumes may leave some wanting. In fact, where the series did excel as mentioned before, was in the characters surrounding the story. Particularly in the areas of characters like Lisa Miller, Kim Pine & Knives Chau.

Characters whom O'Malley seems quite capable of granting souls with near-minimal effort. Again, the jury is out as to whether or not if this is the entire point, which makes the underlying emotional & even contemporary implications of our hero that much more troubling. What may intrigue some readers is how cleverly the story implies that while some may take action as being a nudge toward the inevitability of hurting others, the same can also be said of inaction. This for my part at least, is one of Scott Pilgrim's greatest double-edged strengths.The other edge being that it feels clear that O' Malley is not as comfortable with elaborating on the emotional, and just letting the visuals do most of the talking. In understated manga fashion, our so-called hero is in danger of being a painful black mark in the lives of others. And perhaps even Ramona's should he not rise to meet his ultimate opponent, himself.

And so when it comes to Edgar Wright's dizzying assault of an adaptation, one can rest easily in knowing that as it pulls off a few superhuman feats for a non-superhero-based adaptation produced by a major studio. Scott Pilgrim Vs. The World embraces the daffy world of O'Malley's artwork, verbiage, & mannerisms with a drunk giddyness only fitting for a film stylist/uber geek like Wright. In a time where adaptations have near reached their final apex, it is more than refreshing to see a film so dosed on manically hallucinogenic ideas actually working from one frame to the last. Irrevocably plugged into the last decade's explosion of pre-Hipster indie-nerd metaculture, this is the film Speed Racer was attempting to be.(And in many ways, the film most encompassing the entire last five years of my life in the Los Angeles area, for better and worse.) This is a generation's response to wacky mind-altering rock opera ala The Phantom Of The Paradise by way of SNES taken intravenously in some back area of a local rock venue as another's dream fight has just begun onstage. Quite simply stated, this is pure cinema in full low-fi glory.

As mentioned prior, Scott Pilgrim is a jobless/aimless college drop-out who has been in so-called "self-repair" mode for nearly a year after a devastating breakup, and dealing with it in the best way he can, by dating someone much younger, and much less requiring of any real effort. Poor Knives Chau(Ellen Wong) in her naivete embraces Scott wholeheartedly, and yet has no idea of the rollerskating enigma now haunting her boyfriend's dreams. And when Scott realizes that this dream girl is very much a being of flesh and blood, his mission of meeting (and hopefully dating?) miss Ramona Flowers(Mary Elizabeth Winstead) crosses boundaries, and places him in a terrible spot. Now if only this were the end all of his problems. His scrappy homebrew garage band, Sex Bob-omb seem serious about getting noticed as the band's leader, Stephen Stills (Mark Webber) takes it upon himself to go for whetever show comes their way, as the band's freckle-faced drummer, Kim Pine looks on bitterly at the drama little Scott's been bringing to practice. Knives has suddenly become Sex Bob-omb's "biggest fan", and has no idea of the trouble in store. And yet it is only once Mr. Pilgrim decides to move forward with Ramona, do his troubles take on galactic proportion as he must face the pain of this dream girl's checkered past. And in the form of seven evil exes, we are thrust into the madness that is Pilgrim's greatest battle.


"Whetever Happened To The Teenage Dream?" Indeed.

Edgar Wright & Michael Bacall's script nails many of the best elements of O'Malley's books, and comes up with an alternate universe "suite" version of the Scott Pilgrim tale that talks as fast as it cuts. And in the fashion of the series, Pilgrim is rarely filled with much to say except to react to others around him. And when those around him speak, it is where the film's dialogue truly shines. Most impressive is how the Knives Chau subplot is altered to compliment the entire story's backbone, which gives Ellen Wong some surprising range to truly inhabit the world of a young girl who's done nothing wrong, and yet is learning some painful lessons quite early. It is an unexpected performance that helps ground the madness of the film when it runs in danger of derailing (which it almost does several times). Also worthy of note are performances by Mary Elizabeth Winstead who's Ramona Flowers is potent, and filled with a certain desperation & longing for stability, as well as Allison Pill's seething & often deeply funny take on Kim Pine. Easily my favorite character from the comic, she leaves one wanting more by merely the visage of her expressions alone. Wright's direction allows the ensemble cast also including Kieran Culkin, Johnny Simmons, Anna Kendrick, Aubrey Plaza, Brandon Routh, Mae Whitman, and even Chis Evans to turn out some amazing work. Should be no surprise as for my dollar, the ensemble power was among Shaun Of The Dead's greatest stealth abilities. One must hand it to Wright and Bacall for coming up with a truncated, yet fittingly streamlined version of the tale.

It is a choice that is quite appropriate considering the rogue's gallery of opponents Scott must face. Whether it be against Evans' X-treme era marquee idol & his stunt doubles, or Routh's numbskull vegan, the film takes on a bizarre guise between the panel and the screen. Possible favorites include Brie Larson's Envy Adams, Satya Babha's Matthew Patel, and Jason Schwartzman's Gideon Graves. They all grant themselves just enough to imply that Ramona isn't as ideal as Pilgrim perhaps imagined. The exes are not truly evil, and only so in the mind of a girl eager to continue running. A pretty significant achievement considering everything else Wright brings to the table.

And yet his directorial hand maintains amongst some of the maddest cinematic conditions imaginable for a middle-budgeted subversion of the romantic comedy. The film unrepentantly never repeats the same shot. The amount of setups with the help of the legendary Bill Pope (The Matrix,Spiderman 2) is intimidating to say the least. And all in the name of creating a singularly disorienting experience punctuated by the visualized onomatopoeia, speed lines, framing & paneling that engulfs the film like a vinyl album cover. Mix this with some of the most thrillingly visualized martial arts sequences ever executed, the film is unwilling to be easily classified. Much like what would happen if a rock opera collided with a Shaw Brothers film. Capturing the ultra geeky satire of slacker & hipster-culture of the 2000s is achieved with the assured, gleeful hand of Wright & co. Embracing everything from the garage rock life of any city, to the snow-capped suburban life of Toronto, all the while finding enough energy to embrace the language of anime & japanese video games. Major props go to Wright, alongside editors Jonathan Amos & Paul Machliss for the at times mind boggling achievement. The presentation alone is worth the price of admission. And yet, the experience offers far more to certain cutural niches which makes the film an overall success, but one perhaps restricted for certain audiences. Kudos to Universal for even considering this, especially in a time most desperate for a crossover success.

This said, there are some speedbumps in Scott's journey that keep the film from being a complete success for this one reviewer. Some of which can be argued as being unavoidable, but would argue that it potentially hurts future viewings. Especially in the department of the film's central relationship, there are elements there that while are sublimated well at the offset have gaps that may leave a certain taste in the mouths of newcomers to the series.Ramona never seems to have her say in how their relationship develops. A story like this hinges upon us being able to register the chemistry between the two leads, which unfortunately comes up short here. There's a grand opportunity within the first half hour that is completely squandered, and leaves a lot of the film without much of an emotional leg to stand on. Long story short, we never see what Ramona ever truly sees in the boy. This is where the film does what it can to gloss over in all of its wacky veneer, but is unable to overshadow. Also missing are the central proofs that Scott is in fact evolving. This is akin to having all the afterglow without the foreplay. Leaving the viewer with little else but the fights undercuts the books' central themes of awakening, and taking responsibility. If the film had taken a little more time to develop these changes, the piece might become something more than a mere cultural artifact. We never actually see Scott step up his game, and this makes the film into kind of a cheat that it never really recovers from.

And somehow despite these deficiencies, Michael Cera's Scott Pilgrim makes for a unique brand of anti-superhero in a performance that rewards with a near effortless charm. To see his expressions go from hopeless child to love warrior is impressive. There is a great deal going on behind Cera's work in this film, and it makes for a truly fun protagonist that could easily have been completely unlikeable. It's a charm that works well in conjunct with Wright's bottomless enthusiasm, and I hope they work together again.

And complimenting matters is a spectacular soundtrack that will likely become a favorite for years to come.

So when all is said and done, Scott Pilgrim Vs. The World is a thrilling, funny & charming as hell love letter to geek culture. After years of anticipation, we now have two unique versions of the ultimate loser saga released into the ether, with its feet firmly planted in the subcultures from whence it came. Whether this means big business or not for the studio folks is completely arbitrary. The film is a success on its own levels, and dares viewers to balk at it, turn away in disdain, or lap it up with bottomless reservoirs of love. Even at its weakest, the film has a human center that somehow (like the books) works in spite of things. Part romantic comedy defiance, part pop art spectacle, the film is what the summer's been longing for. Any way one looks at it, Scott Pilgrim is here to stay, and it is a most welcome one at that.

Scott Pilgrim & The Endless Possibility

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.

Scott Pilgrim's International Trailer Hits All Notes

The more and more I see, the more excited I get.

Edgar Wright has gone ahead and released an International Trailer for his wild adaptation of Bryan Lee O' Malley's cult comic sensation, Scott Pilgrim Vs. The World. And even if I have yet to make any noise about it here on the Kaijyu, it must be said that I've been following the project fervently since 2008. The new trailer gives us some more great visual gaggery, not to mention something I wnted to see more of from the books, the role of Knives Chau...Scott's ex, and hopeless stalker! There's a lot of what we've seen before in other teasers, but the spirit of the books looks as close to intact as one could hope from a movie version.

But don't take my word for it..