I didn't even know there was good music until like two months ago!

Rating: 6/10 (15 July 2016)

The extent of the comic book influence in Ang Lee's Hulk were lines intersecting and dividing the frame into panels just like the source material would. Not exactly a novel or inspired idea, and it added exactly zero to an already mediocre film. Scott Pilgrim is another one of those rare occasions where merely adapting a comic's story is not enough; the essence of comic books and their unique elements must be integrated into the film itself. Are these decisions fully justified? Many of the effects, while pretty and neat, don't contribute a whole lot, but are there to satiate the fans of the source material and those familiar with comic book tropes; flashy visualisations of sound effects (the crash bangs, bells ringing, bass notes), presenting conversations by splitting the frame instead of your conventional shot reverse shot, text boxes with introductory information, and so on. There are a few instances of Wright's innovation with these elements - a powered up Todd demonstrating his strength by smashing Scott through the panel's barrier comes to mind. But most of it is just unnecessary nonsense.
The film also lifts liberally from video-game mechanics. The plot itself is positioned like a game's plot; seven exes, or bosses, each with their own special abilities and backstories, needing to be defeated to gain the final prize. The action sequences are delightfully exaggerated as they would be if you were controlling Scott as the protagonist and hero; appropriately timed speed ramping, flashy power-up effects, the aspect ratio shrinking and enlarging to capture the intensity of a critical hit. But to what extent do flashy effects cover up the lacklustre narrative that indulges them? I guess it's cool to add a glowing sword and tell us Scott's stat increases at a crucial part of his growth; he gains the powers of love, and then later self-respect. What this does, however, is make his characterisation almost entirely reliant on these gimmicks and prevent the film from truly getting to the heart of its characters and motivations. Could you ever imagine Citizen Kane with a little bar at the bottom of the screen that indicated Kane's level of regret?
What Wright does is cover almost every facet of his film with a visual gimmick or effect so that the actual characters are scarcely allowed to breathe. Much of the humour comes from the script rather than the characters; when Scott breathlessly indicates his willingness to do "all of the drugs" to impress Ramona, all it sounds like is an actor reciting a line. Cera taps into his usual persona; the quiet, unassuming teenager who speaks almost exclusively in deadpan, so it seems baffling that so many girls could ever be attracted to him. The same applies to Ramona Flowers, the self-described Manic Pixie Dream Girl: she claims "I change my hair every week and a half, dude. Get used to it." as if this is a substitute for an actual personality. Winstead is pretty and has an air of vague vulnerability to her, but Ramona is nothing more than an airy plot device to serve Scott's coming-of-age story.
The worst offender is the seventeen year old Chinese schoolgirl named 'Knives Chau', who speaks and acts like she has jumped straight out of a nerd's wet-dream. Wong does a brilliant job, nevertheless - Knives is ever smiling, bouncing and on Scott's arm, like a girlfriend created in a lab (or a video-game), and conveniently does not ever seem to notice or address any of his flaws. In the end, she is tossed aside for the happy hopeful ending, and the film cares more about their synchronised jump-kicks than Scott's quick apology. This is the crux of the film's problem; there is clearly an arc written for Scott's redemption, to realise the error of his ways, his selfishness and the self-doubt that comes with the constant comparison and clashing with Ramona's exes. But it is all hidden under intentional silliness and camp, and when we try to closely scrutinise his actions, they don't make any sense. Scott finally gains enough self-respect to stop measuring himself next to the exes, and meaninglessly chase a pretty enigma. But it turns out that his dickishness didn't have any consequences at all; Knives is still the bouncing stereotype that is more than happy to endorse the dream pair, and Ramona is there to welcome him with open arms. It goes for the cool ending, instead of one bound by common sense.