A Real Pain

 

Written, directed, and co-starring Jesse Eisenberg, A Real Pain is the story of two mismatched Jewish-American cousins who travel to Poland to honor their late grandmother. The film is a buddy-road movie in which two cousins travel to Poland as they both deal with their differences as well as their own issues in a trip to pay tribute to their late grandmother. Also starring Keiran Culkin, Jennifer Grey, Will Sharpe, Kurt Egyiawan, Liza Sadovy, Ellora Torchia and Daniel Oreskes. A Real Pain is a heartfelt and witty film by Jesse Eisenberg.

The film follows two Jewish-American cousins who both travel to Poland to honor their late grandmother as they take part in a heritage group tour through the country to connect with their late grandmother and their roots. Along the way, they deal with their growing differences as well as deal with their grandmother’s past and the current state of their lives. Jesse Eisenberg’s screenplay is straightforward in its narrative as it is a character study of sorts in the two protagonists, he creates in the strait-laced family man David Kaplan (Jesse Eisenberg) and the free-spirited Benji Kaplan (Keiran Culkin). Using the money they inherited from their grandmother, they travel from New York City to Poland where they part of this group tour that include the retiree couple from Shaker Heights, Ohio in Mark and Diane (Daniel Oreskes and Liza Sadosky, respectively), the recently-divorced Marcia (Jennifer Grey), a Rwandan genocide survivor in Eloge (Kurt Egyiawan) who converted to Judaism, and their British tour guide in James (Will Sharpe).

Eisenberg’s script brings a lot of depth to the people that David and Benji are with, as Mark and Diane are interested in learning about the former’s family roots while Marcia is also trying to find herself having gone through some recent events in her life. Eloge’s interest in Poland has more to do with his own interest in Judaism as well as wanting to learn the similarities of what he went through and the Jewish community during the Holocaust. During this trip, David and Benji deal with one another as the latter often speaks out over certain things while hiding things about himself that David would later share with the group. The two also leave the group early to see their grandmother’s home in Krasnystaw to honor her with Benji wanting to go there due to the close relationship he had with her.

Eisenberg’s direction is straightforward in terms of its compositions as it is shot on locations in Poland as well as some locations in New York City including JFK International Airport. Notably as he aims for intimate compositions in his presentations for scenes in the airplanes, trains, and buses as well as scenes in hotel rooms and restaurants through close-ups and medium shots. Eisenberg also uses wide shots for some of the locations including shots in various landmarks in cities and towns of Poland include Warsaw, Lublin, and Krasnystaw. Even as Eisenberg would create scenes such as Benji and the tourists reenacting the Warsaw Uprising with its monument behind them as it highlights Benji’s willingness to keep things lively to make the tour a bit more fun for everyone. It is among these lively moments that Eisenberg put into the film though the tour is an exploration of one of the most horrific events of the 20th century. Eisenberg also play into the differences between David and Benji with the former often sending phone messages to his wife back in New York City whenever he is alone while Benji would wander in a hotel where he and David would go on a roof to smoke some marijuana that Benji smuggled.

Eisenberg also plays into the darker elements of the trip as it relates to certain places that James takes the group to including a gravesite where Benji becomes annoyed by James being factual and to be aware that these are real people. It is among some of the somber moments in the film, including a dinner where David reveals to the group about Benji who went to the bathroom. One of the film’s most stark moments involves the group visiting the Mjdanek concentration/extermination camp as Eisenberg keep things simple and at a distance. Even in some of the buildings as it is among the stunning and discomforting moments in the film. Eisenberg still maintains a balance of comedy and tragedy as it plays into David and Benji’s trip to Krasnystaw to find their late grandmother’s home as well as the idea of what is next for them. Overall, Eisenberg crafts a touching and comical film about two mismatched Jewish-American cousins traveling to Poland to honor their late grandmother.

Cinematographer Michal Dymek does brilliant work with the film’s cinematography in capturing the naturalistic look of the locations in Poland in the daytime as well as some of the usage of light for some of the interior/exterior scenes at night. Editor Robert Nassau does amazing work with the editing with its usage of jump-cuts to play into the some of the comical moments as well as giving the film some offbeat moments in the drama. Production designer Mela Melak does excellent work with the look of David’s home in New York City in its interiors as well as the look of some of the hotel rooms that they stay in. Costume designer Malgorzata Fudala does nice work with the costumes as it is casual that all the characters wear including a baseball cap that David wears and the loose clothing that Benji wears.

Visual effects supervisor Yuval Levy does terrific work with the visual effects as it set-dressing in some of the locations including bits in New York City and the videos that David has on his phone. Sound editor Tim Korn does superb work with the sound in the way a location sounds as well as in some of the sparse moments in the film. Music supervisor Erick Eiser does wonderful work in compiling the music as it features piano pieces by Frederic Chopin that is performed by Tzvi Erez as it adds a somber mood to the film.

The casting by Jessica Kelly is marvelous as it feature a couple of small roles from Ellora Torchia as David’s wife Priya and Jakub Pruski as their son Abe. Daniel Oreskes and Liza Sadovy are superb in their respective roles as the retired couple Mark and Diane as they travel to Poland for the former to learn about his ancestor’s homeland as they both make some witty comments about themselves and their trip. Kurt Egyiawan is fantastic as Eloge as a Rwandan genocide survivor who converted to Judaism as he is someone fascinated by the religion which plays into his own conversion as well as wanting to understand the similarities of how he and those from the Holocaust endured. Will Sharpe is brilliant as the British tour guide James who is full of facts and such though, he is taken aback by Benji’s criticism for not being emotionally connected into the landmarks and such.

Jennifer Grey is amazing as Marcia as California divorcee who just moved back to New York as she travels to Poland to find herself as well as her own roots as she is also going through her own emotional issues in relation to her life. Jesse Eisenberg is incredible as David Kaplan as the straitlaced cousin with a wife and child who is anxious and wanting to be things on schedule where he also deals with his cousin’s behavior as well as things that he is upset about towards him. Finally, there’s Kieran Culkin in a phenomenal performance as Benji Kaplan as a free-spirited slacker who has no filter in what he says while is also someone with some issues. Eisenberg and Culkin together are a joy to watch as they bring a lot of chemistry as these two mismatched cousins who deal with each other as well as why they are not as close as they used to be.

A Real Pain is a sensational film by Jesse Eisenberg that features great performances from Eisenberg and Kieran Culkin. Along with its ensemble cast, usage of Frederic Chopin’s piano pieces, gorgeous imagery, and study of two men going on a journey to honor their grandmother. The film is a funny as well as heartfelt story about two cousins who try to reconnect despite their differences by going to Poland to learn about themselves and their late grandmother. In the end, A Real Pain is a phenomenal film by Jesse Eisenberg.

© thevoid99 2025

Margaret (2011 film)

Written and directed by Kenneth Lonergan, Margaret is the story of a young woman who feels responsible for causing an accident that left someone dead. In turn, she deals with the guilt over what happened while going through all sorts of things in her own life. The film is an exploration into the tumultuous life of a young woman who goes through lots of changes in her life as well as trying to find herself. Starring Anna Paquin, Matt Damon, Mark Ruffalo, Kieran Culkin, Olivia Thirlby, Rosemarie DeWitt, J. Smith-Cameron, Matthew Broderick, Jeannie Berlin, Allison Janney, and Jean Reno. Margaret is a haunting yet mesmerizing film from Kenneth Lonergan.

What happens when a young 17-year old student distracts a bus driver where an accident is caused resulting in the death of a woman as this young woman deals with the guilt over what happened? That’s pretty much the idea of what this film is about as it explores a young woman named Lisa Cohen (Anna Paquin) whose life changes due to an accident she caused all because she asked this bus driver (Mark Ruffalo) about his cowboy hat while he was driving the bus. For Lisa, she deals with the guilt over what happened as she has no idea what to do as she tries to protect the driver since what he did was an accident yet when she meets him to discuss the accident. Things don’t go well as she decides to change her statement to the police while contacting a woman to help file a lawsuit against the bus company in hopes the driver gets fired.

While the story largely revolves around Lisa’s tumultuous life as she deals with guilt and loss, there is a subplot revolving around Lisa’s mother Joan (J. Smith-Cameron) who finds herself in a relationship with a man named Ramon (Jean Reno) which causes issues between the two women who already have a troubled relationship. Notably as Joan is a stage actress while Lisa is just a high school kid who likes to smoke and do crazy things. The accident definitely causes a rupture in their relationship where Lisa starts to act out more in school and later befriend the friend of a victim where they go for a lawsuit. Yet, Lisa’s behavior becomes more complicated over the guilt she deals with families of the victim gets involved as well as other aspects of her life including relationship with boys and her attraction towards her math teacher Aaron Caije (Matt Damon).

The script also allows to explore the dynamic between Lisa and Joan as they’re two different women who are going through changes in her life. While Joan is concerned over what happened to Lisa, she has no idea how to talk to Lisa who starts to become more detached and angry. Yet, Lisa would also deal with the realities of how things are handled with the police and the lawsuits as it would cause more complications about who she is. Particularly as she is this 17-year old high school student who is in the transition into becoming a woman.

Kenneth Lonergan’s direction is very entrancing for the way he presents this very dramatic story that contains very heavy themes. Shot on location in New York City in the Manhattan area, Lonergan does make the city a character in the story though he does go a bit overboard in utilizing lots of insert shots to help fill the story though some parts are effective. Notably as the camera gazes through the city to show a world where things are already moving on despite the incident that had just happened. Lonergan’s direction also has a lot of unique framing devices to help capture the sense of loneliness and detachment that Lisa is going through. There’s also a lot of shots that are stylized including the big accident scene where Lonergan uses the crane to express the sense of loss and longing that Lisa goes through.

Another part of Lonergan’s direction that is unique is the fact that film also features scenes at the Metropolitan Opera House to establish not just the world Joan is in but also the drama she’s facing in her own life. Other scenes such as school discussions about politics show Lisa becoming more aggressive in her arguments where she will sometimes go way too far. These are moments to establish this detachment and anger these two women are going through where they will vent to each other and say things to each other that intensify. Yet, Lonergan will find a way for the women to reconnect where both women will face something that would overwhelm them leading to a powerful ending. Overall, Lonergan creates a very strong yet harrowing film about guilt and loss.

Cinematographer Ryszard Lenczewski does excellent work with the film‘s photography as a lot of it is straightforward to complement the beauty of New York City in its day and nighttime settings. Editors Mike Fay and Anne McCabe, with additional work from filmmaker Martin Scorsese and his longtime editor Thelma Schoonmaker, do superb work with the editing to play out the drama as well as some of its intensity as it includes some stylized moments in the non-dialogue scenes. Production designer Dan Leigh, with set decorator Ron von Blomberg and art director James Donahue, does nice work with the sets from the look of the apartments to the look of the school.

Costume designer Melissa Toth does terrific work with the costumes as a lot of it is casual with the exception of the scenes at the opera house. Sound designer Jacob Ribicoff does brilliant work with the sound to capture the low-key atmosphere of the opera houses to the more raucous scenes in some of the film‘s exteriors and phone conversations. The film’s music by Nico Muhly is amazing for its low-key orchestral pieces with some haunting arrangements on the strings while the soundtrack features an array of classical and operatic pieces along with some few indie-rock and hip-hop cuts in the party scenes that Lisa goes to.

The casting by Douglas Aibel is a major highlight of the film for the rich ensemble that was assembled for the film. Among those making small appearances include Krysten Ritter as salesgirl, John Gallagher Jr. as a friend of Lisa in Darren, Olivia Thirlby as a classmate of Lisa, Sarah Steele as Lisa’s friend Becky, Kieran Culkin as another classmate of Lisa whom she has sex with, Michael Ealy as a lawyer who advises Lisa, Jonathan Hadary as a lawyer who deals with the suit that Lisa is involved in, Cyrus Hernstadt as Lisa’s younger brother Curtis, Josh Hamilton as an actor Joan works with, and Rosemarie DeWitt as the wife of the bus driver. Other notable small roles include Matthew Broderick as a drama teacher, Allison Janney as the victim who is killed in the bus accident, and Jeannie Berlin as the victim’s friend Emily who helps out Lisa with the suit.

Jean Reno is wonderful as the very kind Ramon who falls for Joan as he tries to get to know Lisa. Matt Damon is excellent as Lisa’s math teacher Aaron Caije who is trying to understand Lisa’s behavior as well as her attraction to him. Mark Ruffalo is superb as the bus driver who causes the accident as he is aware of what he’s done while deals with Lisa’s aggressive manner towards him in the one scene they have together. J. Smith-Cameron is great as Lisa’s mother Joan who tries to deal with Lisa’s detachment while she falls for the businessman Ramon as she finds the escape she needed to deal with Lisa. Finally, there’s Anna Paquin in a remarkable performance as Lisa Cohen as a young woman dealing with tragedy as she becomes lost in her grief while becoming more angry over the way the world deals with what she is trying to do and such.

Margaret is an extraordinary yet engrossing drama from Kenneth Lonergan that features amazing performances from Anna Paquin and J. Smith-Cameron. The film is definitely an intriguing drama that explores the world of grief and detachment as well as interesting piece about the dynamics between mother and daughter. In the end, Margaret is a marvelous film from Kenneth Lonergan.

Kenneth Lonergan Films: You Can Count on Me - Manchester by the Sea

© thevoid99 2013

The Dangerous Lives of Altar Boys

Originally Written and Posted at Epinions.com on 10/24/05 w/ Additional Edits & Revisions.

Based on the teen novel by the late Chris Fuhrman, The Dangerous Lives of Altar Boys is about two comic-book fanatics in the 1970s with desires to create their own comic while dealing with their authoritive nun and growing up while planning a huge prank. Adapted into a script by Michael Petroni and Jeff Stockwell with Jodie Foster serving as a producer for the directorial debut of British music video director Peter Care. The movie is a part comic-book film with animation sequences from Spawn creator Todd McFarlane and live action sequences that blurs the realities and fantasy for the young boys. Starring Keiran Culkin, Jena Malone, Emile Hirsch, Vincent D'Onofrio, and Jodie Foster. The Dangerous Lives of Altar Boys is a whimsical, coming-of-age story that is filled with a lot of imagination.

Tim Sullivan (Kieran Culkin) and Francis Doyle (Emile Hirsch) are two teenage Catholic schoolboys who likes to cause trouble in their Southern environment. While they also serve as altar boys for Father Casey (Vincent D'Onofrio), they're also trying to create a comic book with their friends Wade (Jake Richardson) and Joey (Tyler Long) as Tim is the editor and Francis is the creative force. Francis meanwhile, falls for Margie Flynn (Jena Malone) as the two become attracted to each other. Though the boys had to deal with the strict authority of the one-legged nun Sister Assumpta (Jodie Foster), Tim and Francis always find a way to deal with her while she becomes the inspiration for their comic antagonist in Nunzilla.

The comic called Atomic Trinity has Tim modeled as MuscleMan, Francis as Brakken, Wade as Captain Asskicker, and Joey as Major Screw while Francis created another character in Sorcerella modeled after Margie for a storyline about regaining a pearl from Nunzilla to restore order. During a trip to the zoo, Tim gets an idea about a prank he wants to do on Sister Assumpta involving a cougar he sees at the zoo. Yet, the boys decides to do a prank that involves them stealing a school statue that leaves Sister Assumpta angry. Francis' relationship with Margie begins to blossom though Margie reveals an unsettling secret that mentions her older brother Donny (Arthur Bridgers) whom Francis knows. Francis reluctantly tells Tim as he asks him to keep it a secret as the two and Margie go to the zoo so that Tim can try and capture the cougar that doesn't go well.

With Tim still wanting to make plans for the prank, Tim is suddenly shaken by an encounter with a wounded dog during a marijuana binge as Francis notices something odd about Tim's behavior. Things eventually unravel as Tim accidentally spills the secret to Donny during P.E. as Francis' relationship with Margie starts to fall apart due to more things unveiled. The two boys get expelled over what Sister Assumpta found though Father Casey thinks that what they're doing isn't really wrong. Tim and Francis decide to go ahead with their prank as Wade and Joey join them where the plan suddenly goes wrong leaving Francis haunted by everything he's gone through.

While the idea of fantasy and reality is mixed very well, for a massive audience, the approach might be confusing and uneven. Particularly since the reality and the live-action sequences of the film dominate a large part of the film more. It's in the animated sequences that comes into the film every once in a while that really serves as Francis' fantasy and ideas for his comic. While some might find the approach to the script and Peter Care's direction to be handled very well. Some though will find it to be uneven to the point of where it comes from in Francis' mind. Still, the film carries a lot of strong moments, notably the scene where Tim and Francis find the wounded dog that would foreshadow in what's to come in the film's end.

Still, the real theme of the story is these young people growing up and it's about how love can disrupt things whether it's Francis' friendship with Tim or his romance with Margie. Both are dysfunctional yet there's so much to come afterwards, especially for Francis in the end since the story really revolves around him. The subplot about Margie and her relationship with her brother is very interesting since it forces Francis to realize that nothing is as it seems. It's a story about growing up and it's handle very wonderfully by Peter Care by presenting the performances in a natural, realistic way.

Helping Care in capturing the visual style of the South is production designer Gideon Ponte and art director Geoffrey S. Grimsman who help capture the suburban, urban decay area of the south. The costume design of Marie France is very realistic from the school clothing to the 70s casual clothing the kids wear in the film. While editor Chris Peppe does a nice job in editing the animation sequences and live-action scenes into the film in its 105-minute pacing. The real star in terms of capturing the visual style of the film is Care's longtime cinematographer Lance Acord.

Using the same photography, hand-held style for such later works like Spike Jonze's Adaptation and his greatest work in Sofia Coppola's Lost in Translation, Acord uses sunlight and natural coloring for many of the film's exterior scenery while in the interiors, brings an atmospheric tone to the film in its school sequences and the attic room Margie lives with her constellation light-map. For the film's score, there's some nice orchestral pieces in the comic book sequences by Marco Beltrami but a lot of the music is dominated by Queens of the Stone Age leader Josh Hommes who helps capture the 1970s with his gritty, raw metal guitar sound as well as some acoustic music to bring the film its innocence.

The film's small cast is wonderfully used, especially Arthur Bridgers as Donny and Scott Simpson as the stoner/comic book clerk. Jake Richardson and Tyler Long are excellent in their respective roles as Wade and Joey, who both bring an extra edge to the friendship of Tim and Francis while as a gang, they all have something different to bring to the table as both young actors do excellent work. While Vincent D'Onofrio's character is small, every scene he's in has D'Onofrio being very laid back and more of a mentor as opposed to be a figure of authority, especially in a scene with Francis about sin while he smokes a cigarette. Jodie Foster gives a wonderful performance as the strict Sister Assumpta while in her alter-ego Nunzilla, she brings a lot of humor and evilness to that character. Foster as the nun is more restrained yet despite her strictness and hold on authority, she gives the character a sense of morals as Foster brings another wonderful performance.

Jena Malone gives an amazing performance as the troubled yet sweet ingenue Margie Flynn. While she brings a similar, graceful quality that a young Diane Lane had in the early 80s, Malone brings more grit and dysfunctions to her character while making her very complex in the development of the story. Malone has wonderful chemistry with Hirsch while bringing a lot of brilliance to every moment she's in. Kieran Culkin is the film's comic relief and he really gives the best performance of the movie with every scheme he's concocting and always have an upbeat, trouble-making where it really is a disguise for everything he's surrounded by. Especially in the scene with the wounded dog as Culkin brings a lot more depth to his character while maintaining a wonderful tension and chemistry with Hirsch. Emile Hirsch is wonderful as the film's leading protagonist Francis. Hirsch brings an innocence to his role as a dreamer who wants something more in his life while dealing with newfound love and his friendship with Tim. Hirsch is really the film's emotional center and core as he gives a great performance.

While it's not for everyone, The Dangerous Lives of Altar Boys is still a wonderfully imaginative debut from director Peter Care. With a great cast led by Kieran Culkin, Jena Malone, and Emile Hirsch along with the support of Jodie Foster and Vincent D'Onofrio, the film's got a lot going for. Particularly in Josh Homme's rock score and the lush cinematography of Lance Acord. Fans whose aware of Peter Care's video work for R.E.M. will certainly find those same elements. The film's got a lot for comic book fans as well thanks to the animation work of Todd McFarlane. For anyone who loves comics with a bit of humor and development, The Dangerous Lives of Altar Boys is the film to see.

(C) thevoid99 2011

Scott Pilgrim vs. the World

With the popularity over comics and graphic novels becoming films, it’s no surprise that audiences are seeing a new culture of geeks who are influenced by comics and video games. One such story is in the form of Bryan Lee O’Malley’s Scott Pilgrim series. The graphic novel series tells the story of a young slacker from Toronto who falls in love with an American girl only to learn that in order to go out with her. He must defeat her seven evil-exes. With the sixth and final book Scott Pilgrim’s Finest Hour finally released on July 20, 2010, O’Malley has also allowed for his series to be adapted by British director Edgar Wright for a film named after the second book called Scott Pilgrim vs. the World.

Directed by Edgar Wright with a screenplay written by Wright and Michael Bacall, Scott Pilgrim vs. the World tells the story of a young Toronto slacker who plays in a band has his love life changed by an American girl. Wanting to go out with her, he must defeat her seven evil exes in a video-game style of conflict. Along the way, Pilgrim has to deal with the fact that he’s growing up and how took some of his ex girlfriends for granted as one of them is going after the woman he loves.

With an all-star cast led by Michael Cera as Scott Pilgrim. The film also includes Mary Elizabeth Winstead, Kieran Culkin, Ellen Wong, Anna Kendrick, Alison Pill, Mark Webber, Aubrey Plaza, Johnny Simmons, Brandon Routh, Mae Whitman, Brie Larson, Chris Evans, and Jason Schwartzman. Scott Pilgrim vs. the World is an enjoyable, off-the-wall film that is truly fantastic.

After meeting a 17-year old Chinese girl named Knives Chau (Ellen Wong), Toronto-based slacker Scott Pilgrim is in a new relationship. While he lives with a gay roommate named Wallace Wells (Kieran Culkin) and plays bass in a band called Sex Bob-omb with former high school girlfriend Kim Pine (Alison Pill) and Stephen Stills (Mark Webber). Scott is still an immature 22-year old with no job as he starts to have weird dreams with this mysterious young woman. After seeing her at the library and later at party, he learns that she is Ramona Flowers (Mary Elizabeth Winstead). Ramona is an American girl who works for Amazon as Scott asks her out during a delivery as sparks flew.

After inviting Ramona to a gig where Knives also attends, Scott finds himself in trouble during a performance where Ramona’s first evil-ex boyfriend Matthew Patel (Satya Bhabha) appears to challenge Scott. After Ramona tells him that he must defeat her seven evil-exes so he can date her, Scott realizes he is up for a challenge as he also makes some bad decisions. After breaking up with Knives, Scott has to deal with Ramona’s other exes including actor Lucas Lee (Chris Evans), musician Todd Ingram (Brandon Routh), a ninja-like girl named Roxy (Mae Whitman), and a couple of Japanese pop twins named Ken and Kyle Katayanagi (Keita and Shota Saito).  Scott also to deal with another ex-girlfriend in Envy Adams (Brie Larson), who is now a pop star playing in a band that Todd is in.

Dealing with exes overwhelm Scott as he also has to deal with how its affecting his relationship with Ramona. When Sex Bob-omb is finally getting noticed, the person taking the band is none other than Ramona’s last ex-boyfriend in Gideon Gordon Graves (Jason Schwartzman). Scott realizes that what he must do to defeat Gideon which includes facing himself as well.

Bryan Lee O’Malley’s graphic novel series about Scott Pilgrim tells the story about this young slacker who falls for his dream girl but has to deal with her exes as well as gaining some self-respect. What writers Michael Bacall and Edgar Wright do in adapting the series into a feature film is take that premise of a guy defeating seven exes and bring it to life. Exposing a pop culture world filled with indie music, video games, and all sorts of worlds. The film plays like a video game of sorts starting with the Universal film logo designed like an old 8-bit video game with 8-bit music.

While it’s known that adapting a book or a series of books into films aren’t easy, Bacall and Wright do a great job in not just getting the characterization and the world of Scott Pilgrim. They also bring enough that is told for a feature film, though it was made when the sixth and final book was in the works. While various subplots about Scott Pilgrim’s relationship with Kim Pine as well as more stories about various characters including Julie (Aubrey Plaza) and Scott’s younger sister Stacy (Anna Kendrick) aren’t featured as much. They’re given enough exposure of what is needed to be told for the story of Scott Pilgrim’s journey.

The development of Scott Pilgrim as this young, slacker kid who doesn’t have much clue about love nor has a clue about how his own decisions towards the people he hurt has affected them. When he’s with Ramona, he starts to grow up a bit but still acts as an immature kid though he steps up when he gets into fights. Ramona Flowers is just as complex as this young woman desperate to escape from her past and finds something different in Scott Pilgrim. Yet, she admits to being a bitch while feels bad for putting Scott into this situation. Another major character that gets exposure is Knives Chau, a 17-year old Chinese girl who is introduced to a new world. Yet, when Scott breaks up with her. She takes up stalking to the point that she pretends to date Young Neil (Johnny Simmons) while plotting to destroy Ramona Flowers.

The screenplay succeeds in not just using what is needed to tell the story but also in giving many of the film’s supporting characters to play their role to the story. Particularly in setting up each confrontation that goes on. Within each opponent that Scott faces, the stakes become higher and more intense where there’s a great structure to the story within each confrontation. Even as it plays like a video game where the levels become much tougher and more overwhelming. The script overall is truly amazing as it’s captured with such energy and style from its director Edgar Wright.

Using some of illustration of O’Malley for several scenes as well the use of split screens for comic-book style framing. Wright’s direction is truly stunning in terms of recreating the comic book to life with lively visual effects and video-game style. Wright definitely goes for a pop-art element for film he uses visual effects to display heightened emotions. Even if he’s capturing the energy of the concerts and fight sequences. The staging of scenes has Wright framing things as if they look the same book presented them. Even if it’s an awkward scene where Scott and his friends meet The Clash at Demonhead, the band featuring Envy and Todd.

Wright definitely displays a sense of confidence in his directing where he allows the actors to do their stunt work as well as show their funny sides in the most natural way. The humor isn’t forced or gimmicky as it flows well in the way O’Malley’s books have as it doesn’t take itself too seriously or go for silly gags. The action scenes show Wright taking on different angles for the fights as each one has its own sense of energy. Notably the Scott vs. Todd scene where the two battle each other with their ability to play bass. Another noted factor that works for the film are the title displays for the characters to figure out their personalities or how smart they are. Wright’s direction overall, shows a director finally given the chance to create something that is spectacular and fun without going overboard or make things look cheap.

Cinematographer Bill Pope does excellent with the film’s colorful photography as it’s shot on location in Toronto. Pope’s photography is full of color where the white snow in daytime scenes work with the colors clashing for whatever moment if it’s a funny or a dramatic moment. Pope also succeeds in creating dazzling lights and colors for several scenes including the concert and fight scenes without a lot of flashy, polished photography. There’s a bit of grit to the look as Pope’s work is phenomenal.

Editors Jonathan Amos and Paul Machliss do amazing work with the film’s stylized yet energetic editing. From the use of split-screens and other formats, the editing moves the film in a fast but rhythmic tone for many of the film’s fight and concert scenes. Yet, Amos and Machliss know when to slow down when it’s for something more dramatic while using comedic sequences with great timing.  The editing of the film is definitely masterful for its array of rhythms and stylization. Production designer Marcus Rowland, along with set decorator Odetta Stoddard and art director Nigel Churcher, do fantastic work with the set designs for the clubs and places the characters are in. Even as they recreate places just like the novel did in its illustration as the art direction is truly spellbinding.

Costume designer Laura Jean Shannon does some nice work with the costumes from the casual clothing that most of the characters wear to the indie-like clothes that Knives Chau were later in the film. Even the look of Envy Adams with her big heels are great as the costumes reflect the personalities of the characters along with the hair and make-up work that bring more of a unique look to the characters Visual effects Frazer Churchill does amazing work with the visual effects of the film that has a comic-book like feel to play to exaggerated emotions and other sound effects sequence. Even for the fight and concert sequences that plays to a heightened level of intensity as it’s truly spectacular. Even as the Shynola visual arts team do some crazy work for the film’s opening credits sequence.

Sound editor Julian Slater and sound designer James Boyle do brilliant work with the film’s sound work. Bringing the use of 8-bit video game sounds for effects reason, the sound has a video game-like feel while there’s texture to the layering of the sound effects during the fight and concert scenes. The mixing is truly astonishing in its presentation while the design for the 8-bit effects adds humor. If there’s a real technical highlight of the film, it’s the sound department.

The film’s music is truly amazing with a dream-like yet frenetic score by renowned producer Nigel Godrich. Godrich, along with contributions by Beck, Dan the Automator, and Osymyso, creates a wide mixture of music from 8-bit style electronic music to frenetic garage rock and other strange pieces. Dan the Automator provides the cheesy electro-pop song for Matthew Patel while Cornelius brings a high-octane electronic piece for Katayanagi twins. The rest of the soundtrack has Beck providing music for the band Sex Bob-omb with his fast-paced, rocking sound.

Other artists in the soundtrack include Beachwood Sparks providing a cover of Sade’s By Your Side for a wonderful love scene between Scott and Ramona. Metric contributes a song as they provide the music for Envy’s band The Clash at Demonhead while others like the Broken Social Scene, Frank Black, the Rolling Stones, Black Lips, Plumtree, and the Broken Social Scene also contribute cuts to what is certainly an amazing array of music.

The casting by Robin D. Cook, Jennifer Euston, and Allison Jones is truly amazing for the people that are cast as the characters all look like the people from the novels. Small roles include Christine Watson as Matthew Patel’s demon hipster chick, Chantelle Chung as Knives’ friend Tamara, Ingrid Haas as a partygoer named Monique, Kerr Hewitt as Stacy’s date Jimmy, Nelson Franklin as Comeau, and Ben Lewis as the Other Scott whom Wallace sleeps with. The film also has some great cameo appearances but none is as exciting or as funny as the two men who play the Vegan Police.

For the roles of the seven evil exes, the casting on that side is truly inspiring as each individual definitely get to stand out on their own. Though they don’t have any dialogue, Keita and Shota Saito as the Katayanagi twins are excellent for the presence they have as they battle Sex Bob-omb in an epic battle that is truly fun to watch. Mae Whitman is very funny as Roxy, another ex with a real grudge for Scott and Ramona as she sports makeup and acts like a ninja as she definitely stands out. Though he was known for playing Superman in the very underrated Superman Returns, Brandon Routh is truly a marvel as the vegan-powered Todd Ingram. Delivering his dialogue with a stylized, deadpan style, Routh adds a lot of humor by doing so little with his role as it is definitely a great performance. Satya Bhabha is excellent as Matthew Patel, the first evil ex who does a bit of dancing while providing some comical moments to his role.

Chris Evans is hilarious as Lucas Lee, an actor with a raspy voice who hires his own stunt doubles to do the fighting while acting all cool. Then there’s Jason Schwartzman as Gideon Graves, the final ex who is the ultimate king of cool while proving to be a slimy son-of-a-bitch as Schwartzman really gets to ham it up a bit. Another notable ex that is superb is Brie Larson as Scott’s ex-girlfriend Envy Adams as a pop star who is trying to make Scott miserable while trying to intimidate Ramona as Larson is truly cool for that role. Other notable small but memorable characters that gets a lot to do is Aubrey Plaza as the bitchy Julie who despises Scott for being a dork while Johnny Simmons is great as Young Neil, the kid who is one of the few fans of Sex Bob-omb as he often spouts some funny words.

Alison Pill is excellent as Kim Pine who often delivers a dead-pan, monotone dialogue for some of her scenes to show her bitterness towards Scott though she heightens it up whenever she screams “We are Sex Bob-omb, 1-2-3-4”. Mark Webber is very good as Stephen Stills, the talent in the band who is often anxious before each gig while hoping to get signed. Anna Kendrick is really good as Scott’s younger but mature sister Stacy who is shocked over what Scott is doing while providing him with some wisdom. Kieran Culkin is a hoot as Wallace Wells, Scott’s cool gay roommate who offers advice while freaking Scott out with his own sexual escapades.

The film’s real discovery goes to Ellen Wong as Knives Chau, the 17-year old Chinese girl who falls for Scott only to get dumped where she unleashes her crazy side. Wong definitely brings a sense of innocence and naivety to the role early in the film as she is introduced to a new world. When she loses Scott, she becomes a stalker while getting ready to go head-to-head with Ramona as Wong hits all the right notes in terms of comedic timing and being a supremely bad ass chick. If Wong is the discovery, Mary Elizabeth Winstead is the film’s breakout performance as Ramona Flowers. Winstead brings a sense of wit and charm to her character while admitting to be flawed as she is also quite secretive. Winstead truly brings Ramona to life with different hair colors and a sexiness that isn’t overt. This is really Winstead’s moment as she and Wong are the highlight of the cast.

Finally, there’s Michael Cera in what is definitely his best work to date. While he’s known as a one-note actor with a very limited range. Cera, definitely steps up a bit in playing a character that’s not entirely likeable but not a total asshole as well. Cera definitely shows the character’s sense of immaturity as well as someone who is willing to fight for what he wants. It’s really a marvelous performance from the young actor, even as he has great rapport with the cast. Though some might feel it’s a variation of the roles he’s played, it’s one that broadens his work as an actor while showing there’s more to him that just being the kid from Arrested Development and Superbad.

Scott Pilgrim vs. the World is an extraordinary film from Edgar Wright that truly lives up to Bryan Lee O’Malley’s graphic novels as well as bringing it to life in such a grand way. Featuring an amazing cast, a superb soundtrack, amazing visual effects, great humor, and brilliant fight scenes that keeps the film exciting. It’s a film that bends all sorts of genres and puts into one exciting film where the fun doesn’t stop. Fans of the books will be amazed by Wright’s vision while it will also bring in new readers interested in the world of Scott Pilgrim. In the end, Scott Pilgrim vs. the World is a magnificent film that definitely brings out the fun for a dreary summer year.

Edgar Wright Reviews: (A Fistful of Fingers) - Shaun of the Dead - Hot Fuzz - The World’s End - Baby Driver - The Sparks Brothers - Last Night in Soho

© thevoid99 2010