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.
Emerging from a lesser-known comic-book line, James Gunn’s Guardians of the Galaxy – Marvel’s tenth, and possibly quirkiest, offering – proves to be a risk well taken.
Set entirely in the galactic immensity of outer space, Guardians of the Galaxy follows the story of Peter Quill (Pratt); a twenty-six-year-old Earthling who was abducted as a young boy and raised by The Ravegers – an alien gang of thieves led by the notorious, Yondu (Rooker).
Far away from home, Peter – a.k.a Star Lord – now roams the cosmos and soon comes across a special orb; a silver infinity stone that holds an incredible amount of power. Unfortunately, he’s not the only interested party and he is soon confronted by Korath (Hounsou); the right-hand man of one of the most villainous terrorists in the galaxy, Ronan (Pace), who wants to use the orb to overthrow a rival civilization run by Nova Prime (Close).
Intrigued by the high interest in his new discovery, Peter turns his back on Yondu, who sends assassin, Gamora (Saldana), to retrieve the orb.
He also soon attracts the attention of bounty hunters, Rocket (voiced by Cooper) – a sly raccoon warrior – and his best pal, talking tree-like human, Groot (voiced by Diesel).
After causing a public disturbance, Peter and his pursuers are soon put in prison and form a temporary bond, along with muscular inmate, Draz (Bautista), in order to break out and prevent the precious stone from falling into the wrong hands.
Written by James Gunn and Nicole Perlman, Guardians of the Galaxy is refreshingly off-beat, steadfast and full of character. Visually, Gunn paints his intergalactic backdrop with plenty of colour, however some of the CGI tends to feel a little overcooked and the action-scenes – although pretty entertaining– feel a little unrefined.
Pratt – whose character and performance has already drawn comparisons to Harrison Ford’s Indiana Jones – proves to be a solid and extremely likable lead, while Saldana uses her trademark femme fatale penchant to great use . However, it’s Cooper as the chatty and cheeky raccoon, Rocket, and Diesel as the human-tree, Groot, that steal the show, adding a whimsy rarely seen in modern comic-book film adaptations.
Without household comic-book names to inject a bit of weight into proceedings, this is a film that could have found itself in the annals of failed comic-book adaptations, alongside Marvel flops such as Daredevil, Elektra and Ghost Rider.
But, armed with a funky 70’s soundtrack, likable characters, a witty temperament and thrilling action, Guardians of the Galaxy has arrived at the perfect time for Marvel, who – despite huge box office earnings with Captain America, The Avengers et al – were in dire need of a fresh canvas.
Expanding further on its already wobbly and tedious premise, the third installment of the Sylvester Stallone-led testosterone-filled franchise is exactly what you would expect it to be; loud, senseless and utterly brainless.
Directed by Patrick Hughes, The Expendables 3 opens with Barney Ross (Stallone) and his dependable crew of rowdy mercenaries, Lee Christmas (Statham), Gunner (Lundgren), Toll Road (Couture) and Ceaser (Crews), rescuing and breaking Doctor Death – a.k.a “Doc” – (Snipes) out of prison.
After a series of unnecessary explosions, the team decides to take a quick trip to Somalia and take part in a CIA-operated mission to eliminate a black market arms dealer from the scene. However, the mission proves tricky when the group is confronted by Stonebanks (Gibson); a backbiting businessman - and an ex-member of the crew - who holds personal ties with Barney. The team ends up taking a huge and an unexpected blow and, after almost losing one of his members, Barney promises to track down Stonebanks – with the help of CIA Agent Drummer (Ford) – and seek revenge.
Wanting to keep his dear friends out of line of fire, Barney and recruitment specialist, Bonaparte (Grammer), begin putting together a much-younger team of mercenaries, which include the tech savvy, Thorn (Powell), no-nonsense tomboy, Luna (Rousey), weapons expert, Mars (Ortiz) and Smilee (Lutz). Not wanting to miss out on the action, Trench (Schwarzenegger) also joins the team. Their mission? Find Stonebanks and, if circumstances allow, bring him back alive.
Let’s be honest; the novelty of watching this peculiar but impressive assembly of 80’s and 90’s action superstars - all thrown together in one massive concoction of muscle, guns and testosterone – has worn off. While the first two films offered a bit more appeal – mainly thanks to the cast’s obvious sense of self-awareness at their very own absurd existence - The Expendables 3 chooses to go in another direction. Taking itself a little too seriously this time, it seems like the boys are running on fumes; the witty one-liners have been replaced by one too many explosions, the action scenes feel erratic, shaky and incoherent, the pacing is rather clumsy and the predictability levels have reached their all-time high.
The addition of Gibson and Banderas is probably the best aspect of the entire film; Gibson shows what real acting looks like and Banderas – as the unemployed warrior looking for a kill – infuses the story with the much-needed energy. As for the rest, it’s the same old story - old being the operative word – though there is still enough to keep fans happy.