by Gary M. Kramer, Staff Writer

Scott Pilgrim vs. The World was initially more like Scott Pilgrim vs. The Box Office. Director and cowriter Edgar Wright’s first film to not feature his breakout Shaun of the Dead/Hot Fuzz buddies, Simon Pegg and Nick Frost, was a “bob-omb” in theaters; it grossed just over half ($47.7M) of its $85-90M budget in North America. (And the film was set and shot in Canada, which is usually less expensive). 

It is not like the money wasn’t up on the screen. The film, based on a graphic novel series and filmed like a video game, features extensive CGI action sequences as well as Batman-like (the 1960s TV show) call outs—e.g., “Thunk” when someone gets punched, kicked, or otherwise beaten up on screen. In addition, nifty visual gimmicks throughout the film are often quite funny—from a “pee bar,” when Scott Pilgrim (Michael Cera) urinates, or a black bar that appears over Julie Powers’ (Aubrey Plaza) mouth whenever she curses (which is almost every time she speaks). 

The film also features a significant soundtrack, with songs by Beck. Plumtree, Broken Social Scene, T. Rex, Queen, The Rolling Stones, and others along with video game theme music, none of which is inexpensive. 

It may be that the studio (Universal) thought they would have a big youth market hit on their hands. Scott Pilgrim showcases an ensemble cast of up-and-coming actors. In addition to Cera, pre-Captain America Chris Evans, Anna Kendrick (who had just been Oscar-nominated), Jason Schwartzman, and Cera’s Arrested Development co-star Mae Whitman all had been developing loyal fans. 

But even though the film was admired by critics and viewers—and become a cult hit that rewarded multiple viewings with Easter Eggs—people did not give Scott Pilgrim an attack hug on release. It may be that cinephiles and adults didn’t want to see an action-comedy-fantasy about the titular man-child dumping his 17-year-old girlfriend, Knives Chau (Ellen Wong) to pursue the manic pixie dream girl Ramona Flowers (Mary Elizabeth Winstead) and fighting off her seven evil exes—Matthew Patel (Satya Bhabha), Lucas Lee (Chris Evans), Todd Ingram (Brandon Routh), Roxy Richter (Mae Whitman), the Katayanagi Twins (Shôta Saitô and Keita Saitô), and Gideon Graves (Jason Schwartzman). 

Scott Pilgrim likely didn’t connect with audiences because it was a mashup of too many genres. But this is precisely why the film is so great. The first half of Scott Pilgrim is hilarious, full of brilliant wordplay, such as “Your BF’s about to get eff’d in the b!,” as well as visually inventive images and sight gags, smash cuts, and surreal landscapes. As Scott determines that Ramona is literally the girl of his dreams, he tries soooo hard—Cera is pitch-perfect in the role—to manipulate things to his advantage that it is amusing every time he has a setback or gets sidetracked. There is a great bit of physical humor when Scott literally dives out a window to avoid Knives at his door. And the film repeatedly mocks his character knowingly, which adds to the fun. Scott Pilgrim is self-deprecating, just like its hero. That is why it is so enjoyable; it doesn’t take itself too seriously, and neither should viewers.

Moreover, the severe deadpanning by Kim (Alison Pill), one of Scott’s bandmates (and his ex), is pricelessly funny, as are the witty one-liners drolly delivered by Scott’s cool gay roommate, Wallace Wells (Kieran Culkin). (They also share a bed.) And seeing Wallace communicate with Scott’s sister Stacey (Anna Kendrick) while he is sleeping(!), or seduce guys, such as Stacey’s boyfriend Jimmy (Kjartan Hewitt)—“Wallace, again?!,” Stacey shrieks at one point—generates a big smile like. (The film is very queer friendly.)

There are other things small and big to appreciate. The song “Garbage Truck,” performed by Scott’s band, Sex Bob-omb is a clever garage band tune—the lyrics are just so perfect. (Sample: “I’ll be your garbage man/I’ll take out your junk.” And the film becomes a series of fantastic battles that get more and more fantastical as the film goes on. The Bollywood-style dance sequence during Scott’s duel with Matthew Patel is a nice curlicue of whimsy that enchants. The resolution of Scott’s battle with Todd, a vegan, “who will begone,” is absurdly funny. How can anyone not chuckle when Todd asks blankly, “Chicken isn’t vegan?” And the eye-popping scenes of his fighting with Roxy, the Katayanagi Twins, and Gideon are spectacles—in a good way. 

In an interview on Larry King Now, Mary Elizabeth Winstead addressed the commercial failure of the film, stating, “It was too weird, and unique, and unlike anything else; people didn't know what to make of it." And there is truth to that; Universal found that marketing the film was a challenge. It was tricky to convey all the film was to audiences. But that’s exactly why it works—it’s a shapeshifting film that benefits from repeat viewings.

Scott Pilgrim did get a 10th anniversary release, and it continues to live on other media platforms, suggesting that it will have a long life outside its theatrical failure. As such, consider Scott Pilgrim the winner in Scott Pilgrim vs. The World, and vs. The Box Office. It a cult film that delivered dividends.