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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.
Sinister looking children’s toys – dolls and puppets in particular – are a common feature of many a horror film, often somehow possessing dark demonic powers. Annabelle, the latest horror of such kind and the prequel/spin-off to the last year’s summer hit, The Conjuring, unfortunately is rather dull.
Directed by John R. Leonetti – of The Conjuring, Sinister and The Mask fame – and written by Gary Dauberman, Annabelle is set in the early 1970s and follows Mia (Wallis) and John Gordon (Horton); a young married couple living in Santa Monica, who are expecting their first child.
One night, their next-door neighbours are killed as a result of a satanic cult home-invasion job. Unfortunately, the drama doesn’t end there and they soon end up victims of a similar crime, but after a certain amount of struggle – and blood spilled – the couple manages to come out alive.
Soon after their traumatic ordeal, their home – that they’ve grown to love and care for – begins to suffer a series of supernatural occurrences and after it becomes a little too much to handle, they decide that it’s best to move. Unfortunately, trouble follows them to their new home and John and Mia soon realise that Mia’s prized collector’s doll might have something to do with it all.
Annabelle starts off strong, with Leonetti and Dauberman weaving a decent amount of tension and suspense into the opening. However, although, their ideas are relatively solid – and some of the scares genuinely frightening – the plot soon become repetitive and what little novelty the premise has wears off pretty darn soon.
In terms of performances, both Wallis and Horton managed to sustain a good amount of chemistry; however, their characters – just like the story – aren’t formed well enough to form a connection with the audience.
Riddled with clichés and familiar formulas, Annabelle is little more than an attempt to cash-in on the success of its much more convincing and entertaining predecessor.
With films like Hunger Games, Divergent and Twilight finding unbridled box office success, adult feature film adaptations have, to some extent begun, to reach saturation and the latest proves exactly that.
The Maze Runner builds on a genuinely intriguing dystopian setting that fails to offer anything new to the genre as a film, despites the interesting premise of James Dashner’s 2009 book.
Directed by first-time filmmaker, Wes Ball, the story follows Thomas (O’Brien); a young man who finds himself waking up with amnesia and surrounded by an army of equally curious young men. He soon learns that he has woken up in the Glade; a sprawling savannah that is towered off by high – and maze-like – concrete walls.
Just like Thomas, the boys, led by Alby (Ameen) – who has been stuck in the Glade for the past three years – are unable to recall who they are and how they got there. The increasing number of new arrivals eventually led the confused boys to build a functioning mini-society of sorts, that depends on ‘runners’ – the fittest, fastest and most agile of the group – to race into the maze each day and look for a way out. The task is made all the more daunting by the fact that the gates that guard the maze close buy sundown and no one dares imagine what could happen to anyone who gets stuck there with the large monsters known as Grievers who patrol the maze at night.
Thomas initially has a hard time believing the myth, but realises the severity of the situation when one of the boys’ life is put into danger. The group is soon thrown into complete chaos when the first girl to arrive at the Glade, Teresa (Scodelario), shows up with a threatening message, making the boys realise that they can no longer wait for a miracle but, that they themselves must find a way to escape – and fast.
The Maze Runner marks the first and the opening chapter of a planned three-part series that once again sees a group of teenagers fighting for their lives against a mysterious and much superior force. To its credit, though, the story is fairly engaging, as the plot builds on a similar premise to William Golding’s 1954 novel, Lord of the Flies.
The film succeeds in projecting a deliciously claustrophobic tone and the characters are likeable, while even the action is pretty solid throughout.
However, the film plays out like an intro to the series and those who haven’t read the book might feel a little cheated by the fact that the character of Thomas is never really explored and short-changed by the abrupt - and calculated - finale.
Overall, The Maze Runner is a decent, if unremarkable, first chapter to the series and now the pressure is really on for the second.