Missed Masterpiece #2 - Scott Pilgrim vs the World

Missed Masterpiece #2 – Scott Pilgrim vs the World

It’s still one of the most puzzling situations in cinema as to why Scott Pilgrim vs the World flopped so badly at the box-office.

Don’t get me wrong, I am a HUGE fan of Edgar Wright, and SPVTW is one of my favourite films of 2010. It’s like you hit play before then being gloriously crushed by a retro 80s arcade game, which is a surprisingly joyous feeling. However, whenever the film crops up into conversation people’s response is usually either ‘Scott What vs the Who?’ or ‘Oh yeah, I didn’t really fancy that.’ Why not?

On the face of it, it would appear that it is a sure-fire setup for a modestly successful film:

• Adaptation of a popular graphic novel series? Check.
• Young, trendy, successful stars (Michael Cera, Mary Eilizabeth Winstead, et al) combined with recognisable established actors from Hollywood (Brandon Routh, post Superman Returns and Chris Evans pre Cap’n America days) along with notable names from the Indie circuit in Jason Schwartzman? Check.
• Budding, British director with a string of hugely successful, home-grown comedy films attempting his first whack at a Hollywood? Check.
• Cool soundtrack including trendy bands like The Ting Tings, The Prodigy, Beck and of course The Sex Bob-ombs? Check.
• Respectable Hollywood budget (estimated at a minimum of $60 million)? Check.

All this would lead to the assumption that Scott Pilgrim vs the World would go on to be a critical and commercial success making stars of its leading duo and launch the director into the Hollywood big time.

Tragically, it didn’t.

Whilst it was generally a critical hit, with the majority of critics praising its surreal but nostalgic approach as well as the performances of the leads, it went on to gross a mere $31 million at the cinemas (pushed up to $47 million with DVD sales), and when you compare that with Toy Story 3, the highest grossing film of 2010 (over $1 billion), it is a pitiful amount.

So why did the film perform so badly at the box-office? The audience didn’t get it? People dislike Michael Cera? Bigger films released at the same time (The Expendables, Despicable Me)? Perhaps all of the above had their impact, but for me it is simple. It is too ‘geeky’ for mainstream cinema audiences.

The film is essentially a love letter to 80s/90s video games, and if these weren’t your cuppa, neither will the film. Some of the references are about as subtle as a girl with blue hair wielding a massive sledgehammer, notably the ‘getting a life’ scene, the coins after defeating the evil exes, the Pac-man anecdote and Sex Bob-omb themselves.

But it’s the inconspicuous references too that add a bonus level of geek to the film. The ring collection sound when Scott receives a sudden brainwave – a loving homage to Sonic the Hedgehog, the desert scene is a nudge-nudge, wink-wink to the ending of Final Fantasy VIII and even the one of the stunt doubles used in the fighting scene with Lucas Lee is none other than Reuben Langdon whom I’m sure you all know as the voice of Ken in Street Fighter IV. Duh!

It really is a damn shame that this had to happen to such an original, unique and often hilarious film, and unfortunately those involved have suffered arguably from the films flimsy commercial success. Cera hasn’t had a major leading role since, and we have only had glimpses of Winstead in Hollywood films (possible personal preference). Edgar Wright has returned to Britain with the final instalment of his Cornetto trilogy with The World’s End but there has yet to be any indication of an imminent return to Hollywood anytime soon. He was scheduled to direct the upcoming Marvel film Ant-Man, however he left the project due to creative differences.

It is not all doom and gloom however. Whilst the film performed dreadfully during its initial cinema release, it performed spectacularly in terms of DVD and Bluray sales, becoming the top selling DVD upon its initial release, gaining somewhat of a cult following amongst its fans.

For this film to perform so badly at the box office, it begs the question is there no room left for originality, imagination and creativity left in Hollywood? Or are producers too reliant on the tried and tested methods of releasing a box office blockbuster guaranteed to rake in millions, perhaps even, billions of dollars?