Hollywood Bites Reviews: Scott Pigrim vs. The World

If the words Zelda, Tetris or Duck Hunt have ever held a special place in your heart than Scott Pilgrim vs. The World is the movie for you. From the moment Universal’s logo appears, roughly animated into glorious 8-bit pixilation, the kind known all too well by members of a generation who once thought Pong was the pinnacle of technology, it’s clear that you’ve stepped into a film that embodies the ultimate in hipster chic; a hyper-referential genre piece that’s perfected the affect of nonchalance despite exerting exhaustive efforts to be cool.

Hipster poster boy Michael Cera stars as Scott Pilgrim, a 23-year-old wannabe rock star meandering through life in Toronto, dreaming of greatness with his band, Sex Bob-omb, and dating the trifecta of porn fantasy girls, an underage Asian catholic school girl (Ellen Wong). But after meeting the girl, quite literally, of his dreams, Ramona Flowers (Mary Elizabeth Winstead), Scott finds himself under siege. In order to win her heart, and keep his beating, he must battle Ramona’s seven evil exes, who range from a studly vegan rocker (Superman star Brandon Routh, ‘member him?) to an experimental lesbian fling (Mae Whitman), to the death.

Based on Bryan Lee O’Malley’s beloved six-volume graphic novel, Scott Pilgrim is an allegory for all romantic relationships. You may not physically fight anyone’s exes when you start dating, but there’s no denying that psychological warfare is always waged with your partner’s past.

It’s a simple concept, dynamically captured by director Edgar Wright (Hot Fuzz, Shaun of the Dead) who festoons the movie with adorable hallmarks, visual witticisms and cinematic in-jokes for Generation X-Box. In many ways, Wright has created what might be this decade’s Reality Bites, a time capsule film fluently speaking the language of a generation, couched in what appears to be a fluffy romance.

Similarly, this movie is an assembled legion of some of the most talented young actors working today. Cera is predictably a-dork-able, leaving the door wide open for scene stealing from the supporting cast who jump at the chance to dazzle. Up in the Air’s Anna Kendrick crops up briefly as Scott’s sister, proving her Oscar nod was no fluke. An exceptional comedienne, even her most momentary appearances are commendable. Similarly, Alison Pill, Mark Webber and Johnny Simmons as Scott’s Sex Bob-omb bandmates turn minimal screen time into memorable, tasty side dishes. But the largest heaping of praise goes to Kieran Culkin as Scott’s gay roommate, Wallace Wells. Pitch perfect in every way, Culkin has barely acted since his attention-grabbing turn in 2002’s Igby Goes Down, a lamentable absence as proven by this performance. With any luck, next time audiences might get to see Wallace Wells vs. The World.

Michael Cera's New Film is "Revolt"ing

"Youth in Revolt," adapted from C.D. Payne's cult novels, brings to life the journal entries of teenager Nick Twisp (Michael Cera), a virgin who falls desperately in love with Sheeni Saunders (played by captivating newcomer Portia Doubleday) when they cross paths on the way to their trailer park's bathroom. Soon, he's doing anything he can to be near her, including creating an alter ego named Francois Dillinger, a cigarette smoking, foul mouthed, randy, mustachioed bad ass who makes him spark a raging inferno that burns down most of Berkeley, California. What some guys won't do to get laid, huh?

The film, Miguel Arteta's first directorial effort since "The Good Girl" in 2002, premiered at the Toronto Film Festival in September 2009 to excited buzz. The question is, why?

Sadly, Arteta has created an antiseptic, coming-of-age sex comedy without the titillation or humor to maintain his audience's attention and Cera's signature brand of dry, high-strung, doe-eyed humor has worn tediously thin. No matter the role, it seems like Cera insists on doing the same thing he's done since he made George-Michael a household name. Perhaps his acting development arrested there. If you find yourself drifting out of this film, we recommend making it more interesting by imagining Cera's going head-to-head with Jesse Eisenberg in an awkward-off (Kristen Stewart could judge).

The Nick Twisp who exists on Payne's page is rude, vibrant, thoughtful, perverse and brimming with the agony of adolescence. Onscreen, despite acts of arson, cross-dressing, larceny and a Thanksgiving mushroom trip, it all seems spineless. Even Francois Dillinger, the character meant to embody sauvé savoir faire, feels showy, off-key and effortful. If it weren’t for Doubleday's well calculated and comely turn as the ultimate, unattainable dream girl, the film's shortcomings might be even less forgivable.

Adolescence is difficult, but "Youth in Revolt" makes it downright painful. It's too bad. With such good source material, a director who was seemingly the master of deadpan, and a cast boasting everyone from Steve Buscemi to Justin Long, we had higher hopes.