Wright cited Mario Bava's 1968 film Danger: Diabolik (another adaptation of a comic series) as an influence on his approach to Scott Pilgrim, stating that he took an "Italian influence, a sense of completely unbridled imagination. They don't make any attempt to make it look realistic. Mario Bava's composition and staging has a real try-anything attitude."[12] Other influences on the screenwriters include musical films like Beyond the Valley of the Dolls, Dig!, and particularly Phantom of the Paradise.[13] The film also takes on elements of style from the graphic novels, including the use of comic book text-as-graphic (e.g. sound effect onomatopoeia), which is described by Wright and O'Malley as "merely the internal perspective of how Scott understands himself and the world".[14] It has been described as both a video game and a comic book film.[15]

ComicsAlliance calls the title sequence "just the first in a memorable series of seamless mash-ups of graphics, film and animation that beautifully translate the spirit of Bryan Lee O'Malley's graphic novels to the screen".[86] Art of the Title describes the sequence as "visual napalm",[84] with Bleeding Cool saying it is "quite wonderful".[87] Jade Budowski of Decider writes that "with its rapid-fire introductory scene and the ensuing vibrant animated title sequence, [the film] wastes no time in sucking you into [its] world".[88]

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In his chapter "Tell It Like a Game: Scott Pilgrim and Performative Media Rivalry", Jeff Thoss writes on the various transmedial cues, saying that "the film attempts to outdo the comic book series in its emulation of video game features both on the level of the storyworld and on the level of its representation. But as neither of these two works emerges victorious, their so-called rivalry appears less as a real competition than as a way to illuminate the specific narrative affordances and limitations of comics, films, and computer games".[138] Building on Thoss, Fehrle examines the remediation (Bolter and Grusin), or use of imitation, of video game signifiers. Looking particularly at the Scott vs. Matthew Patel fight, he writes that there is "not only [the] remediation of arcade fighting and beat 'em up video games, [...] but also a TV aesthetic [...] as well as a play with some iconic film genres [...] and finally a strong link to the theater as a fifth medium thrown into the mix when we see Ramona on a Shakespearean balcony placed at the center of an extremely conspicuous spotlight".[140] He continues technically analyzing the scene by noting the split screen; Fehrle first sees the technique as "more recently associated primarily with the MTV-aesthetics of 1990s TV", noting that it is "an 'unnatural' editing technique, foregrounding the mediality of film by making visible the impact of an editor, a role which in the dominant continuity editing system is regarded as one that should be kept hidden".[140] Fehrle describes the rest of the sequence featuring Matthew Patel as a parody of music videos, including the "tap dance, which is highlighted by the camera's framing of only his feet, as well as his willfully over-acted Saturday Night Fever-inspired pose", while also mentioning its Spaghetti Western-inspired "through-the-legs duel shot".[140]

Peter Debruge of Variety gave the film a mixed review, referring to it as "an example of attention-deficit filmmaking at both its finest and its most frustrating", saying it was economical with its storytelling and successfully incorporated the many big fight set pieces, but missed opportunities to build Scott and Ramona's relationship.[145] David Edelstein of New York magazine also wrote a mixed review, agreeing that Scott "hardly seems worthy of Winstead's Ramona" and saying he thought that "the parade of super-villain exes [...] is like a forced march; [he] felt [he]'d had [his] fill of the fights and there were still five exes to go".[146] Michael Phillips gave a generally positive review, but did agree that the number of fights holds the film back, writing that "Seven sounds like a lot. It is, in fact, two or three too many."[147] Kirk Honeycutt of The Hollywood Reporter wrote a largely negative review, finding the film "a discouragingly limp movie in which nothing is at stake. A character can 'die,' then simply rewind video and come back to life. Or change his mind about his true love and then change it again. Scott Pilgrim's battle isn't against the world; it's against an erratic moral compass."[148] Cindy White at IGN gave a positive review, praising Wright and the film's style extensively, though she did mention that "the middle drags a bit and the ending isn't all [she] hoped it would be."[149]

As a negative, Debruge added that "anyone over 25 is likely to find [the film] exhausting, like playing chaperone at a party full of oversexed college kids",[145] remarks echoed by Honeycutt, who called the film "juvenile" and thought "a wider audience among older or international viewers seems unlikely."[148] White gave the film a positive rating of 8/10, saying it is "best suited for the wired generation and those of us who grew up on Nintendo and MTV. Its kinetic nature and quirky sensibilities might be a turnoff for some."[149] Scott also found the youth elements appealing, writing that "there are some movies about youth that just make you feel old, even if you aren't [but] Scott Pilgrim vs. the World has the opposite effect. Its speedy, funny, happy-sad spirit is so infectious that the movie makes you feel at home in its world even if the landscape is, at first glance, unfamiliar."[150] Abrams opened his review lamenting that "the sad thing about Scott Pilgrim vs. the World is that people assumed that because it embraced its niche-oriented demographic's interests, in its ad campaign and in its content, that it was destined for cult status and nothing more."[123]

Further comparing the film to the graphic novels, and discussing it as an adaptation, Honeycutt agrees that "Director/producer/co-writer Edgar Wright [...] has successfully reproduced the imagery and worldview of Bryan Lee O'Malley's graphic novel, itself a mash-up of ordinary characters lost in a world of manga, video games, music videos and comic book iconography."[148] White writes that the elements of mash-up in the film's style creates "a pop-culture cocktail that is fun, funny and deliciously offbeat", praising Wright for "[making the comic book elements] work in the translation to live action, and [having] enough respect for O'Malley's work in the first place to try to capture that spirit;[149] Scott agrees, saying that the success comes from its ingenuity in bringing the video game to the player's world, rather than the other way around, and so "the line between fantasy and reality is not so much blurred as erased, because the filmmakers create an entirely coherent, perpetually surprising universe".[150] Abrams also notes that some of the comic elements work better in the film, like when Scott wakes up, followed by Wallace and Other Scott, because of the timing of the medium. He opines that Wright also managed to include additional scenes that further inform Scott's characterization and add humor to moments from the comics.[123] Overall, in her 2020 retrospective review, Meghan Hale of Comic Years wrote that "[Scott Pilgrim vs. the World] doesn't just make for an adequate adaptation, but instead brings the story to life in a way that innovates the way we look at adaptations".[46]

See, at the end she's the one that has the epiphany and not Scott. She realizes that she doesn't need Scott to be happy and that he isn't worth obsessing over. That's called maturing. That's what Scott and Ramona are seemingly doing but actually aren't. Instead they're the same uninteresting hipster jerks we met two hours ago. Knives' arc isn't perfect by any means, as it's obscured by all the other crap going on, but it's the only actual character growth in the whole damn movie. In a world of shallow douchebags she is the one person I could actually relate to, and even root for.

I really wanted to like this movie. Just because 18-year-old Richard is gone doesn't mean I don't remember him, so the idea of real people interacting in a game world is appealing to me. However, I just can't look past something this shallow anymore. Instead of being a story about growing up, Scott Pilgrim is a reminder that I've grown up.

Even with some unnecessary and redundant inclusions, the soundtrack comes together very well as a whole. Whereas many modern film soundtracks are glorified compilation discs with a seemingly random track selection, the Scott Pilgrim vs. the World soundtrack is very thoughtful in its curation and stands as a very accurate interpretation of O'Malley's fictional world.

But, in its opening weekend, the film debuted at no. 5 and only earned $10 million, nowhere near the $85 million production budget that went into making it. By commercial standards, it was deemed a flop. Some claimed it was too Canadian, others argued that having Cera anchor the film was a mistake. It would initially seem as though Hollywood made the wrong call altogether and that the film's financial failure, much like the "Who is Arcade Fire?" comments that greeted the band's Grammy win, was a sign that perhaps critical consensus was out of sync with mainstream taste, and that the popularity of Canadian indie rock, among other elements of the film, wasn't enough to bolster a film to worldwide profit.

Of course, Toronto is made up of many thriving music scenes, from punk to hip hop. (It is, after all, the home of the biggest hip-hop artist in the world.) So Scott Pilgrim's representation of the city's indie-rock scene is fairly narrow and, quite notably, white. But that, too, is reflective of how indie rock, as a genre back in the early to mid-2000s, was mostly dominated by white acts. Even a scan of the audiences in the film show a mainly white demographic, further alienating a character like Knives who is often referred to as just a "Chinese schoolgirl" in the film. be457b7860

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