Scott Pilgrim Vs. The World is what happens when a comic book and a video game have sex while using a condom made of film, but the condom doesn't work, so they feed the remainder into a projector. It's an explosion of color and sounds, moving at an intense pace that effectively condenses six books' worth of material into a single film. It's no small feat, but Edgar Wright, the genius behind Shaun of the Dead and Hot Fuzz, beautifully translates the series' hilarity to the big screen, while also nailing the action and romance, as well.
Michael Cera was on the verge of being written off as a one-note wonder after playing the same character over and over again (even when he was transported to the Stone Age in Year One), but this has been his year. After a fun dual performance in the criminally-unseen Youth in Revolt earlier this year, Cear again plays against type by providing a faithful portrayal of Scott Pilgrim. He's still an awkward, indie-type romantic hero, but this time there are healthy dollops of ass-kicking ability and cluelessness. Cera is a surprisingly convincing action hero, and a not-surprisingly convincing video game nerd, too.
Mary Elizabeth Winstead captures Ramona's mystery; just like with the character in the book, it's hard to completely like or dislike her. The other members of the supporting cast get lots of chances to chew scenery and create hilarious caricatures who fit perfectly into the film's larger-than-life world. Kieran Culkin is both cool and gay as Wallace Wells, Anna Kendrick is charmingly mature as Stacey Pilgrim, and Ellen Wong is practically anime-eyed as the obsessive high school girlfriend, Knives Chau. Among the exes, Brandon Routh and Chris Evans get the best roles, and Jason Schwatzman is appropriately sleazy and full of himself as Gideon.
Of course, the performances would mean nothing if the strong source material wasn't effectively translated to the screen. Luckily, the geekiness of the comic, along with the basic comic identity, are perfectly at home onscreen. Sound effects appear as words in all-caps, blurry lines accompany the speedy fight scenes, headings forecast what's coming while paying homage to the novels, and supersonic editing reflect the instantaneous travel from one panel to the next. It's a style that could seem forced or feel overdone by the time the credits roll, but Wright manages it so effectively that neither is the case. When the action slows down (which is rare, but it does happen), the stylistic aspects become more subtle, allowing the emotional dimensions of the scene to be the focus.
Not only does the style reflect the film; many panels are recreated, jokes are easily recognizable, and almost every character who gets any face-time (even Comeau!) in the books makes an appearance in the film. Even as the film barrels through fight after fight after fight, the characters all feel fully realized. (It helps if you're familiar with the books as the characters are then easily recognizable, but even without former knowledge, each actor fits into their parts so perfectly it's hard not to feel like you're reuniting with old friends.) Wright manages to make everything work together: romance, action, comedy, and music all converge into one electric, manic explosion of brilliant ecstasy. It's a thrill ride through and through, from the 8-bit take on the Universal logo to the final, hopeful romantic note.
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