Cinefile

Hands down, director Edgar Wright is one of the ultimate synthesizers of pop culture and all of it's gooey, self-deprecating eccentricity. One need only look at the plethora of references contained within the breadth of his output. From Resident Evil 2 and Star Wars jokes in the cult TV series Spaced, to his jukebox of music nostalgia in Shaun of the Dead, to an unhealthy courtship with blockbuster action flicks in Hot Fuzz - Wright rolls out exaggerated parodies and jibes, tempering such squeals of geekdom with sharp editing, a goofy/smart-ass sensibility and breezy but always idiosyncratic characters.

It would make sense, then, that his latest efforts on Scott Pilgrim vs. the World would be a stunning success on practically every level. The film takes it's cues from the comic series by Brian Lee O'Malley, which tells the story of Scott Pilgrim (Michael Cera), a 22-year-old Canadian bassist (in a band which may or may not suck) as he navigates the perils of fleeting and jilted romance. Scott meets Ramona Flowers (Mary Elizabeth Winstead), who upon first sight of her, decides she is the girl of his dreams. Of course, things won't be so easy for him. Not only must he deal with Ramona's flake-tastic nature, he must also defeat her seven evil exes in glorious battle to prove his affections.

The story is filled and overfilled with unabashed references to video games and music, not to mention the added spice of dazzling, over-the-top fight sequences. It's a perfect stew from which Edgar Wright can work his magic. And magic does he work, for Scott Pilgrim literally bursts off the screen tossing irresistible nerd-shrapnel in all directions.  With equal parts action, special effects, comedy, romance and kickin' tunes (most of the time all five elements at once), the film is an adventure of epileptic proportions.

Of course, the movie is inextricably bound to Cera, and, while legions of fans remained skeptical right up to Scott Pilgrim's release, the actor's portrayal isn't all that bad. While he retains his trademark meekness, Cera makes it work by applying it to a character whose a bit of a dick. His soft delivery becomes his greatest weapon, disarming any dislike of Scott with boyish charm. Plus, seeing the mopey boy wonder break into kaleidoscopic battles of epic epicness tends to melt away any other lingering preconceived notions.

The fights are the obvious focal points of Scott Pilgrim. Complete with video game presentation - a “VS.” appears in between each character before they fight, life bars, reward points, coin showers – the action claps like thunder, busting down walls and wielding light-up samurai swords. Each explosive bout acts as tongue-in-cheek punctuations at the end of hilarious run-on sentences. It's true that Wright could have shortened the sequences in favor of more focus on the relationship angle, but it's not enough to make you run home and cry. Love and feelings and stuff - it still gets an effective share of screen time.

Still, amidst Wright's playful editing and the chunky light shows, the comedy is abundant. Splitting your sides with no remorse, Cera and his cohorts unleash the film's refreshing humor. Kieran Culkin as Scott's gay roommate, Wallace Wells, and Alison Pill as the drummer in Scott's band Sex Bob-omb, Kim Pine, offer particularly inspired performances. Culkin toys with Wells, indulging the character's sexual appetite, while muttering off passive aggressive advice to Scott like, “well, he is better then you in just about every way, so don't worry about it,” while Pill vents Pine's past frustrations with Scott through completely deadpan remarks like, “Scott, if your life had a face, I would punch it.”

As the Sex Bob-omb's punk rock grumbles through every pore and carefully placed contributions from artist's such as Frank Black (The Pixies), Beck, The Black Lips and T. Rex round out Scott Pilgrim's musical world, you know why the film is such a dynamic experience. It's just the right kind of overload on your senses - similar to that feeling of giddy euphoria you get when you're too tired to sleep. Thanks to Wright's meticulous attention to detail, all the film's bombarding elements are deceptively balanced. In the end, Scott Pilgrim vs. the World is a wild and colorful ride, ready-made for the geek subculture stratosphere, but accessible enough for folks on the fringes to enjoy just as much.