“It’s somewhat terrifying,” writes a 25-year-old named Jennifer, “to think about all the things I’m supposed to be doing in order to ‘get somewhere’ successful: ‘Follow your passions, live your dreams, take risks, network with the right people, find mentors, be financially responsible, volunteer, work, think about or go to grad school, fall in love and maintain personal well-being, mental health and nutrition.’ When is there time to just be and enjoy?” Adds a 24-year-old from Virginia: “There is pressure to make decisions that will form the foundation for the rest of your life in your 20s. It’s almost as if having a range of limited options would be easier.”—The NYTimes article, “What Is It About 20-Somethings” is a fascinating read. Once I was finished reading it, I was overcome with a sense of relief. Having spent the last year, post-graduation, googling ‘quarter-life’ crisis in a state of constant worry, it was comforting to realize that this transitional stage I am in has been identified as a possible developmental stage in its own right. (via kaylamarissa) (via okayjokesover)
You should probably all move to Canada. I talked to the Queen and she’s cool with it.
If you lived here you’d have seen Mad Men by now.
Feel like this is somewhat directed at me, my current Mad Men catch-up marathon (as facilitated by the City Library—I’m currently 27th in a queue of 28 for S3, so I’m downloading it), and my repeated threats to move to Canada.
“I like this idea of magical realism springing from people’s pop-culture diet. Characters in their early 20s who have left high school but haven’t found what the next actual calling in life is. They’re not necessarily working in jobs yet, or they don’t have a lot of life experience, or they haven’t even necessarily travelled, so pretty much their entire existence is governed by this media and technology. In Spaced, the two characters are both writers and artists, but their lack of creativity was contrasted by their fertile imaginations, and I think Scott Pilgrim goes even further, that he’s actually living the life of a young solipsist.”—Edgar Wright (via unicornology)
Well kids, he’s done it again. That’s right. Edgar Wright is a fucking genius.
I don’t have the words to explain quite what it was about this film that was so great. I think it starts with the great casting. Michael Cera is still the lovable loser he’s always been, but here he gets balls. He actually fights for the girl - like, with his fists! Mary Elizabeth Winstead is adorable as Ramona, Kieren Culkin is hilarious as Wallace and seeing Mae Whitman as a ninja lesbian may in fact be the highlight of my life.
Another of the film’s many great points would have to be the script. Every line of dialogue feels like it’s waiting to be quoted. Like it’s waiting to become a cult classic. The lines are punchy, witty and really seem to bring something new to the table. The editing was also great with these crazy awesome jump-cuts and extremely fast cuts.
I haven’t read the books (don’t hate me) so I can’t really talk about how true of an adaptation it was, but it was a fucking good ride regardless. Everyone in the audience tonight reacted to the film in a kind of extreme way, which was awesome. There were lots of loud laughs and lots of people clapped at various stages of the film. I think that’s something really great about festival crowds - the fact that they get right into the films. Also I think it helped that there were a LOT of Scott Pilgrim fanboys/fangirls in the audience to help things along.
All in all, I think that this film will be huge. I hope it’s huge. I really, really, really enjoyed it.
ps. Please note that the address from Edgar Wright to us (the MIFF audience) was great. It was nice to know that he cared enough about this festival to do it. Plus he (with the cast behind him) said “we wish we could have been there” so I can feel like there was at least the tiniest chance that I could have basked in their collective glory. Oh well. I live to fight another day.
If I had the time and effort to write reviews for every one of the thirteen MIFF films I saw like Flavia did, well, my Tumblr would be a lot more interesting. Anyway if that had happened, my review for Scott Pilgrim vs. The World would mirror this one word for word.
The transliteration of the visual language from print to film is spot-on. Screen aspect ratio changes! Split screen! Anime and video game tropes! As Flavia pointed out, Wright’s signature use of jump-cuts and extremely fast cuts lends itself perfectly to the material. It may be hard for some to follow; maybe if you haven’t read the graphic novels or seen a Wright film or are over the age of 35.
Brian Lee O’Malley and Edgar Wright tell similar but different stories. Wright’s screenplay reads like what the novels would if BLOM had a script editor. It’s faithful an adaptation in that it takes large slabs of the graphic novels and places them verbatim on-screen. However, given the source material spans [at the time of adaptation] three volumes [six in total], the construction of a cohesive narrative on-screen is difficult without sacrifice. Also, difficult to keep in line with the last three volumes of the graphic novels. Plots and sub-plots are spliced and interchanged, and what is lost is hard to gauge given that dialogue from lost plots are wedged in everywhere. Regardless, my beloved Joseph is a glaring omission.
I cannot emphasise how great the casting for this film was. Michael Cera is Scott Pilgrim. I definitely had my doubts, which were lain to rest within the first two minutes of the film. Kieran Culkin makes the world’s finest drunk homosexual, Ellen Wong is everything Knives Chau should be and Mark Webber plays Stephen Stills with this manic, high-energy personality which isn’t always perceivable in the comics.
In summary, I can’t wait until Thursday so I can watch it again in general release.