[Cera] just didn't fit my image of Scott Pilgrim when he was cast as the lead in "Scott Pilgrim vs. the World" and even after watching Edgar Wright's adaptation of Bryan Lee O'Malley's beloved series of graphic novels, my opinion remained unchanged. Did I go in with a negative predisposition? Well of course I did. It's the same way any of us goes into a filmed version of a familiar book or TV show unconvinced by a piece of casting (or so excessively convinced at a piece of casting perfection that we're blind to unrealized potential). You do it. I do it.
Guess what? I'm not changin' my mind. Cera gives a decent performance in "Scott Pilgrim vs. the World," but what he gives is a Michael Cera performance, augmented slightly by decently performed stunt work and simulated musicianship. He doesn't really embody the Scott Pilgrim of the books and, somewhat more damning, he also doesn't deliver the arc that's specified in Wright and Michael Bacall's script. In a movie that very much intends to be nothing less than transformative for the medium-at-large, Cera's failure to transform himself is less-than-ideal.
But guess what? Like the line from "Meatballs" says, it just doesn't matter. It just doesn't matter because even if Cera never becomes convincing, Wright has orchestrated a film with so much energy, so much style and populated by so many terrific supporting performances, that its central deficiency is masked. Yes, Scott Pilgrim becomes an afterthought in a film that has his name in the title, but it ends up being Wright's whiz-bang pop culture joy that's the real star of this sweet, funny, exciting film.
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And as for the exes, they're played by an assortment of scene-stealers who reveled at the chance to drop in for a week or two, chew on the scenery, upstage Cera and leave. Chris Evans gives the funniest performance, Mae Whitman the most emotional, Jason Schwartzman the most nuanced and Brandon Routh the most enjoyably douchy.
If Michael Cera wasn't the Scott Pilgrim in my mind as I was reading the book, Mary Elizabeth Winstead most certainly *is* the Ramona Flowers in my mind. Or at least she's the Ramona Flowers who took over for Shannyn Sossamon in my mind once it became clear that Shannyn Sossamon would be too old by the time the movie was made. I've already seen one or two critics complain that Ramona is needlessly enigmatic and a projection of male desire, as if there were an accident and not the entire construction of the character. Scott's difficulties understanding Ramona and coming to terms with her past stem from his own projected issues. It would make more sense if Cera didn't play the character with such passivity, but as in the book, Winstead's Ramona is protean fantasy creation who eventually gets to tackle her own issues.
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Beating the "'Scott Pilgrim' is better as a book than as a movie" dead horse doesn't accomplish anything and it probably needlessly overshadows just how much I enjoyed "Scott Pilgrim vs. the World."
At some point, Edgar Wright will make a movie or TV show that isn't a pastiche of his various entertainment influences, but I wouldn't encourage him to move in that direction with any urgency. When it comes to features, he's 3-for-3 on projects that shouldn't necessarily work, but function as both parodies and exemplars of the things being parodied. "Shaun of the Dead" is a hilarious zombie parody, but also a sufficiently scary and gory zombie movie. "Hot Fuzz" is a parody of over-blown action movies, but it's also stuffed with set pieces that exceed nearly anything in the Jerry Bruckheimer-produced oeuvre. And "Scott Pilgrim" functions as a video game-flavored action movie, a slacker comedy and an ultra-earnest young adult romance, while winking at possible viewer fatigue for those genres.
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For a certain demographic, the language spoken in "Scott Pilgrim" will serve as almost an entertainment Esperanto. For other viewers, a great majority of viewers, "Scott Pilgrim" may suffer from literal and thematic cacophony. It probably won't take viewers long to know which camp they fit into. If you cheer at the Atari-inspired Universal logo, if you groove on the jarring panel-to-panel editing, if you're ready to rock out to the Beck-penned Sex Bob-omb songs, if you accept the whimsical notion that the girl you love could literally rollerblade through your brain, "Scott Pilgrim vs. the World" will probably resonate on more than one level.