SCOTT PILGRIM VS THE WORLD

For many people SCOTT PILGRIM VS. THE WORLD isn’t just a film, it’s a whole early 2010s memory. It's that very heady mix of indie rock, messy romance, shared flats, arcade logic and the feeling that your twenties are somehow both ridiculous and life-or-death at the same time. 

Edgar Wright leans straight into Bryan Lee O’Malley’s comic-book world and delivers a film that feels custom-made for people who grew up on band culture, video games and pop culture references. Over time, what was considered a box office miss has settled into something much more lasting, a genuine cult favourite that people keep returning to with real affection.

Part of the film’s hold comes from the lore around it. The cast now looks unreal in retrospect, Michael Cera, Mary Elizabeth Winstead, Kieran Culkin, Chris Evans, Brie Larson, Aubrey Plaza, Anna Kendrick, Jason Schwartzman... all gathered in one place before several of them became even bigger stars. 

The music matters too. Few directors working today have a better grip on soundtrack design than Wright. He's in the same conversation as Joachim Trier, Quentin Tarantino and Nicolas Winding-Refn when it comes to world-building using sound, and that’s one reason moments like “Black Sheep” or the Sex Bob-Omb scenes still live so vividly in people’s heads. Even years later, Wright was still talking about bringing the film back to cinemas in a new version because he felt it could look and sound even better, which says a lot about how much craft was poured into it in the first place.