The romantic action comedy Scott Pilgrim vs. the World is like nothing — and if you’re a person between the age of approximately 18 to 35 everything — you’ve seen before. British director Edgar Wright’s (Shaun of the Dead Hot Fuzz) adaptation of Bryan Lee O’Malley graphic novel is so densely laden with pop-culture references it often times feels less like a movie than a mixtape. Those who share the tastes of the film’s 31-year-old writer and 35-year-old director will find the experience to be exhilarating; those who don’t however will likely be at a loss to comprehend what all the fuss is about.
The list of ‘80s and ‘90s video game nods in Pilgrim alone is daunting: Tekken Super Mario Bros. Tetris Zelda and even retro titles like Galaga and Ms. Pac-Man are represented just to name a few. To fit all of it in Wright must practically invent a brand-new kind of filmmaking. Using techniques and iconography culled from the holy fanboy triumvirate of comic books video games and anime/manga and armed with a clearly generous effects budget he splatters the screen with a dazzling array of CGI visual aids as the action unfolds: informational pop-ups supply key details on each character as they are introduced; words like “Boom!” and “Pow!” burst forth when blows are landed during fight sequences; a “Level Up!” graphic indicating increased levels of key character attributes appears after the film’s hero triumphs in battle. Even the old Universal Studios logo has been revamped by Wright rendered in the rudimentary graphics and sound of the old 8-bit Nintendo Entertainment System. Call it easter-egg filmmaking.
At the center of this digital maelstrom is Scott Pilgrim a 22-year-old Canadian hipster waif played by 22-year-old Canadian hipster waif Michael Cera. Unemployed and in no great rush to find work he splits his time evenly between jamming with his middling band Sex Bob-Omb (a Super Mario Bros. reference) combing thrift shops for new additions to his near-limitless collection of ironic t-shirts and pining for Ramona Flowers (Mary Elizabeth Winstead) a beguiling New York City emigre whose signature attribute is her constantly-changing hair color.
After a few abortive encounters Scott finally gets Ramona to reciprocate his affections. Thus begins the quest — or "campaign " as gamers call it — portion of the film as Scott soon discovers that in order to secure Ramona’s hand he must defeat each of her seven evil exes (six boys and one girl) in spontaneous death matches of decreasing novelty. (A few of them could easily have been excised without harming the narrative but that might invite the ire of comic book fans who typically demand nothing less than absolute adherence to the source text.) With a variety of found power-ups and an entirely implausible collection of fancy kung-fu moves he faces off against among others a pompous vegan straight-edge (Brandon Routh) a self-absorbed action star (Chris Evans) a spiteful lesbian (Mae Whitman) and a smarmy record producer (Jason Schwartzman).
I expect Scott Pilgrim vs. the World will polarize audiences and not just because of Wright’s distinctively dizzying directorial style. (Which I thoroughly enjoyed even though it occasionally overdoses on manufactured quirk and is a bit too proud of its cleverness.) The film glosses over Scott and Ramona’s wooing process in its rush to commence with its succession of comic-book battles which grow somewhat tedious toward the end. It’s simply assumed that Ramona would fall for our protagonist as it’s likewise assumed that we already have. But not everyone will embrace Scott’s castrati hipster affect which too often comes across as grating rather than charming. (The movie’s funniest moments come courtesy of Scott’s sassy gay roommate played by Kieran Culkin who is never without a clever barb for his lovelorn pal.) And beneath Cera’s self-effacing sheen exists an unmistakable whiff of pretentiousness that isn’t entirely justified — at least not yet. Far less debatable is the appeal of Winstead whose spunky Ramona appears every bit worth the hassle of fending off seven or more ex-lovers.
God knows what she sees in him.
Rexxx is a superstar dog in Hollywood with movies such as Jurassic Bark and The Fast and the Furrious on his plate. On the set of his latest movie he is being a diva refusing to come to the set because one of the spotted coats in his trailer reminds him of a snooty Dalmation who broke his heart. Eventually Rexxx’s people convince him he can outlive the Taco Bell Chihuahua dog's legacy if he performs this one great stunt. But while diving out of an airplane Rexxx forgets his parachute and lands in a truck full of tomatoes. He ends up running into a boy Shane (Josh Hutcherson) who’s really not into dogs. Shane’s dad is a fire captain (Bruce Greenwood) and the boy’s extended family is a group of well-meaning misfit firefighters at the Dogpatch Station. They're in constant competition with their rival fire station and the city manager (Steven Culp) is warning the Dogpatch Station that they will soon be closing down. On top of it all there are lots of mysterious fires breaking out around Dogpatch. Can Rexxx help save the day? Hutcherson is an amiable child star. After his recent dramatic role in Bridge to Terabithia and as the older brother in Zathura it's clear he's got a long career ahead of him. He comes across as clever and sensible while the world around him is often going haywire. And the young actor has a superb connection with Greenwood as his distant father. Also doing a fine job is Culp as the city manager and Greenwood’s best friend. The last time these two veteran character actors starred together was in Thirteen Days. Teddy Sears (TV’s Ugly Betty) is particularly funny and charming as the fireman who keeps sliding on top of his fellow firefighters when going down the pole. But of course this is a dog's movie and the four Irish setters used to play the lead pup do some pretty cool stunts and reaction shots. Rexxx comes across as delightfully personable even though he smells bad. Director Todd Holland certainly knows how to direct family stories after winning three Emmys for Malcolm in the Middle. This father-son story centers on a recent tragedy and neither of them deal well with it instead becoming more and more distant from each other. Of course the dog’s intrusion brings them together but the storyline cleverly dances a fine line between the stereotypical genres. Firehouse Dog has both laugh-out-loud moments as well as warm fuzzy teary-eyed moments that feel very real. Of course some of the absurd facial expressions and Matrix-like moves by the dog are computer generated but it's not distracting--and not too obvious. The movie is fun for kids and parents to see together especially if they have a dog at home.