Without going so far into the realm of self-conscious comedy as Wright's past masterpieces, Scott Pilgrim vs. The World raises the bar for hipster-nerd comedies.
The film is an ode to the modern day slacker; Scott (Micheal Cera) is living through the proverbial quarter-life crisis of the average 22 year-old. He's dating a 17 year-old high-schooler Knives Chau (Ellen Wong) to avoid the serious hurt suffered in relationships past. Meanwhile, the drummer in his band Kim (Alison Pill, excellently cast) harbours similar feelings toward him.
Soon enough, Scott meets the woman of his dreams (literally) when Ramona (Mary Elizabeth Winstead) skates into his life. His sole source of grounded discourse comes from an unlikely source, his gay room mate Wallace, with whom Scott shares a bed (played by Kieran Culkin, in the film's show-stealing role). If this mess of relationships seems like a load of spoilers, don't worry; we're not yet out of the first 10 pages of the graphic novel.
Soon enough, Scott meets the woman of his dreams (literally) when Ramona (Mary Elizabeth Winstead) skates into his life. His sole source of grounded discourse comes from an unlikely source, his gay room mate Wallace, with whom Scott shares a bed (played by Kieran Culkin, in the film's show-stealing role). If this mess of relationships seems like a load of spoilers, don't worry; we're not yet out of the first 10 pages of the graphic novel.
The film is targetted directly at the market of 20-something's who've grown up listening to indie-rock, playing video games, and struggling through relationships. It also features some of the best cameos of the year, with appearances by Don McKellar, Chris Evans, and the lamentable Jason Schwartzman.
It's necessary to point out that the film wasn't as good as Hot Fuzz or Shaun of the Dead. While Wright isn't up to his past form, he's still doing better than most any other modern comedic director, especially as an auteur. The failing of this film may lie in his decision to release the reigns somewhat on the writing aspect of the production of the film.