Out of all the things I could say about
Scott Pilgrim vs. The World, one sums them all up:
After watching this movie, I wanted to put the disc back in and watch it again. Immediately.
That’s a pretty rare thing for me. The only other movie that I can think of that gave me that urge was
Memento, but that was because I wanted to see all the clues again know that I knew the outcome. Mmm, and
Mulholland Drive as well, again one of those films where all the threads change right at the end.
Scott Pilgrim isn’t one of those.
I’m still in the process of reading the comic book series that Scott Pilgrim is based on — I need to go pick up a reorder of vol. 5 that came in last week — but up through vol. 3, the movie is one of those ultra-close transfers from comic to film that only
Watchmen and
Sin City have managed thus far. But with the comic itself a mash-up of slacker, music, and video game content, the movie version takes that a level further, mashing comics, music, and games into a whole which works amazingly.
Another of the great things I can say is that the last few minutes of the movie kept me guessing about what would happen. That so seldom happens for me (unless there’s an intentional mystery in the film) that I was enthralled. Of course, it’s also a plus that I haven’t read the end of the comics series yet, so it couldn’t be spoiled for me that way.
(Hmm, that’s an interesting thought for how to approach movies based on books and comics. If you know too much of the original, you can’t enjoy the movie as a movie — you’re always picking at the inadequacies — but if you know too little, you can sometimes be lost or be aware that you are missing backstory [which is my complaint about all the
Harry Potter movies after the first couple, that you could increasingly recognize the places where subplots and entire chapters were chopped out to make the content short enough to film]. For
Scott Pilgrim, I knew a lot but not too much, so I could enjoy the first half due to the match ups to the source and I could enjoy the last half due to knowing enough to really be settled into the movie’s world.)
In some ways, the movie works better than the comics. Smart screenwriters know when to avoid some of the diversions that a comic book indulges in, and when to play up things which are subtle in the original source material. They succeed in both of these with
Scott Pilgrim, for example amping up Wallace’s gay angle, while completely cutting the Stephen Stills “recording an album” plotline (with its own gay angle).
I heartily recommend this movie for anyone who has at least a passing interest in upcoming indie music, slacker culture, video games, and non-superhero comics.
Now someone explain to me: how does a film about a rock band and loaded with cool and way different special effects (unless you want to just call them updates of the 60’s
Batman show) not even get
one Oscar nomination in the pertinent categories?
