Sign in using your account with
Scott Pilgrim Vs. the World: Life as a Video Game
There isn’t a clear point of reference to pin down where Scott Pilgrim’s style, worldview or logic originated. It’s a pop culture melting pot where manga, rock n’ roll and video games are mashed up together to form something completely original with its own unique visual language. So much about Scott Pilgrim is unworldly and fantastical that by the time an emo boy smashes through the wall to duel Scott (Cera), it comes off as perfectly normal; if not inevitable.
The film is based on the comic book sensation of the same name where– almost like the classic Super Mario Bros game– Scott Pilgrim has to fight a league of evil exes to get to Ramona (Winstead), the girl of his dreams. And just like in the video game, Scott wins bonus points and collects scattered coins after he completes each level.
Set in the city of Toronto, Scott Pilgrim’s world consists mostly of hanging out at trendy venues, record-shopping, ranting with his friends over coffee and practicing with his garage band, Sex Bob-omb. His life is plagued with callousness and drenched in irony, and even his likeminded peers give him a hard time about his frivolousness. When he first meets Ramona, his infatuation finally gives him the drive to go out and aspire to something.
As Scott engages with Ramona’s exes in one eye-popping fight scene after another; his state of arrested development gets challenged. Here, the film uncovers the insecurity of a generation that is so hung up on being cool; it stifles their emotional development.
Director Edgar Wright (Sean of the Dead, Hot Fuzz) stretches the full power of his imagination here. His cinematic and pop culture wealth serves him best when he transforms the panels onto the screen, pushing the sequences through a video-game filter and then rendering them in flawless, cotton-candy veneer. The inventive pacing blurs the timeline; so the film can follow emotional threads uninterrupted without feeling tricky or conceited.
Despite the film’s visual inventiveness and joyful demeanour; there is a fundamental flaw undermining Scott Pilgrim: the vacant emotional core propelling the central romance. In the nonstop calibration of everything hip and witty, the film can never bring itself to deliver a single moment of genuine sorrow without shrugging it off instantly. When Scott breaks down in front of his roommate in a desperate plea for human compassion, his friend gives him a pep talk right out of a soap opera, which is further emphasized by a sappy score; playing the drama for laughs instead of digging for any hidden truth.
Scott Pilgrim works for the most part, and even though it consciously chooses to shun humility and heart in favour of retaining its edge; its visual and narrative invention are undeniably groundbreaking. From start to finish, the film blasts feverishly with an infectious sense of fun. It’s an invigorating ride in a world where videogame logic prevails, and love is just a push button away.
Directed by Brian A Miller – see House of the Rising Sun and Caught in the Crossfire – testosterone-heavy action film, The Prince, is centered on Paul (Patric); an Alabama mechanic and former crime-boss who becomes increasingly concerned when he doesn’t hear from his college student daughter, Beth (Mantegna), for some time.
When he calls her and someone else answers, alarm bells start to ring for the worried father and he travels to Louisiana in search of her. Beth’s best friend, Angela (Lowndes), reveals that Beth has actually dropped out of college and suggests to Paul that a newly-found drug addiction may have something to do with her disappearance.
Putting his military background to use, Paul is soon led to a local gangster known as ‘The Pharmacy’ (50 Cent) who isn’t exactly welcoming of Paul’s questions.
Turning to friends Sam (Cusack) and Frank (Schaech) for some much needed help, Paul soon comes across a shady criminal named Omar (Willis) and it becomes clear that the two have crossed paths before as Paul’s underworld past comes back to haunt him.
Penned by Andre Fabrizio and Jeremy Passmore, The Prince – playing with yet another Taken-like scenario – fails to add anything new or novel to what has quickly become a popular and lucrative Hollywood action template. Even with two seasoned acting names attached in Bruce Willis and John Cusack, the films plods along on a steady and predictable path of clichés and underwhelming plot developments.
The action-saturated Willis attempts to tap into his darker side as the psychopathic Omar and delivers a few creepy moments, while Cusack is watchable in that typical Cusack-way. Unfortunately, though maybe predictably, Patric - as the seemingly invincible hero – is overshadowed by his two more famous co-stars. The real villain of the piece, however, is Curtis ’50 Cent’ Jackson, whose move into the world of acting continues to be one of stiff, lifeless performances and what can only be described as cruel and unusual audience torture.
There’s a decent amount of action in The Prince, but its remarkably formulaic conception and execution makes it devastatingly dull.
Love him or hate him, one thing is for certain; Nicholas Sparks always delivers. What exactly it is he delivers is another story altogether and the critics will have a field day taking shots at the latest film to be adapted from the American writer’s pages, The Best of Me; a sappy and an overly sentimental drama that plays with the notion of fate and destiny in the most ridiculous of ways.
Jumping head-first into what has become an extremely tired formula, The Best of Me is centred on Dawson Cole (Marsden); a rugged Louisiana oil rigger who, after learning of the death of a close friend – and surrogate father - Tuck Hostetler (McRanney), is summoned to return home to fulfil his friend's last dying wishes.
Dawson, who is still recovering from a near-death experience, is surprised to learn that Amanda Collier (Monoghan) – his teenage sweetheart whom he’s been pining for the last couple of decades – has also been asked to tend to Tuck's last requests. Stumped and completely thrown by this chance encounter, the pair soon head off together to Tuck's old lake house, an enchanting home that he once built for his late wife, to pack up what is left of his things and spread his ashes.
Naturally, it doesn't take long before the sparks begin to fly and memories begin flooding back; will the long-lost lovers find their way back into each other’s arms or will fate have something else in store for them?
One of the film’s biggest problems – and distractions – is its questionable casting. Marsden and Monoghan share very little chemistry and fail to come across as a couple madly in love while the younger versions of their characters – played by Bracey and Liberato respectively – shared little-to-no physical resemblance to their older-selves. Granted, any film demands a certain degree of suspension of disbelief, but how about we get some help with that one in a while?
Ineptly adapted by J. Millis Goodloe and Will Fetters, the story – in true Nicholas Sparks fashion – runs in two simultaneous timelines and, while the cinematography is pretty decent – plenty of sun-kissed scenes to keep the romantics in the audience content – there are just too many clichés and too much insufferable dialogue.
All things considered, The Best of Me is ironically, one of the worst Nicholas Spark’s adaptations to date; it’s corny in the sloppiest of ways and seems a little too desperate please.