As bass guitarist for a garage-rock band, Scott Pilgrim has never had trouble getting a girlfriend; usually, the problem is getting rid of them. But when Ramona Flowers skates into his heart, he finds she has the most troublesome baggage of all: an army of ex-boyfriends who will stop at nothing to eliminate him from her list of suitors.
Edgar Wright's adaptation earns wide praise for its visual invention and fidelity to Bryan Lee O'Malley's graphic novels, but critics were genuinely split over whether Michael Cera's low-key performance anchors the film or sinks it, and whether the parade of evil-ex fights grows exhausting before the finale arrives. Older viewers were specifically flagged as a likely casualty of the film's relentless youth-culture energy, a concern that proved prophetic at the box office even as the film built an enduring cult following.
“an example of attention-deficit filmmaking at both its finest and its most frustrating”
Peter Debruge·Variety
“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.”
Kirk Honeycutt·The Hollywood Reporter
“a different lead might have kept you laughing and engaged. Cera doesn't come alive in the fight scenes the way Stephen Chow does in [...] surreal martial-arts comedies [like] Kung Fu Hustle”
David Edelstein·New York
“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.”
New York Times
“the most visually exciting, funny, and emotionally involving studio-produced film of the year”
Slant Magazine
Action, Comedy, Fantasy
As bass guitarist for a garage-rock band, Scott Pilgrim has never had trouble getting a girlfriend; usually, the problem is getting rid of them. But when Ramona Flowers skates into his heart, he finds she has the most troublesome baggage of all: an army of ex-boyfriends who will stop at nothing to eliminate him from her list of suitors.
Edgar Wright's adaptation earns wide praise for its visual invention and fidelity to Bryan Lee O'Malley's graphic novels, but critics were genuinely split over whether Michael Cera's low-key performance anchors the film or sinks it, and whether the parade of evil-ex fights grows exhausting before the finale arrives. Older viewers were specifically flagged as a likely casualty of the film's relentless youth-culture energy, a concern that proved prophetic at the box office even as the film built an enduring cult following.
“an example of attention-deficit filmmaking at both its finest and its most frustrating”
Peter Debruge·Variety
“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.”
Kirk Honeycutt·The Hollywood Reporter
“a different lead might have kept you laughing and engaged. Cera doesn't come alive in the fight scenes the way Stephen Chow does in [...] surreal martial-arts comedies [like] Kung Fu Hustle”
David Edelstein·New York
“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.”
New York Times
“the most visually exciting, funny, and emotionally involving studio-produced film of the year”
Slant Magazine
Action, Comedy, Fantasy