Scott Pilgrim Vs. the World Changes the Game

“It’s a game changer,” my friend said, as we exited “Scott Pilgrim vs. the World,” perhaps not even realizing the multilevel nature of his comment. By “game,” he meant that it was the most original film he’d seen since “Pulp Fiction.” It’s also true that it changes the game of filmmaking because it comes at us like a videogame.

Pilgrim must vanquish seven levels of Exes. As he does so, they turn into coins at his feet (each level more coins). At one point, he “gets a life” from out of the air, or the scoreboard on the screen, as the case may be. It’s like that. You may find this extremely annoying. Especially if you’re not a fan of videogames, or have never played them.

Pilgrim plays very much like an amped-up version (sonically and visually) of Michael Cera’s earlier “Nick and Nora’s Infinite Playlist.” We have star-crossed lovers. We have obstacles. We have a band, and rock and roll as a backdrop.

I truly think it’s safe to say that those who love videogames, rock and roll or great love stories will enjoy this film. The only flaw I could find with it is that the beloved heroine, played by Mary Elizabeth Winstead, wasn’t really as life or death as she needed to be. But maybe that’s just our age, everyone is lackadaisical.

The fight sequences, as you would expect, get more intense and spectacular as our hero gets a level further. Mae Whitman, so quiet and reserved on TV’s “Parenthood,” here kicks some serious booty. It’s wonderful. The final one, with Jason Schwartzman, is brilliant and wonderful and fun. Oscar nominee Anna Kendrick gives a very different version of herself as Scott’s beleaguered sister.

All of it comes from Brian Lee O’Malley’s graphic novels, but writer Michael Bacall and writer-director Edgar Wright (Shaun of the Dead) give it shape and keep it flowing along. Very fun movie.