Superhoodie: un-hooded!

Rocketing onwards and upwards, Season 2 of ASBO superhero drama Misfits has gone from strength to strength, and Episode 3 has not only continued this but has solidified the show’s place amongst a myriad of top British dramas.

Thus far in the season we’ve seen beloved rogue Nathan dragged from the grave, finally announcing his power of ‘immortality’, Simon exposed as having murdered the group’s SECOND social worker and most importantly, the introduction of ‘Superhoodie’ – a masked crusader who keeps getting the gang out of sticky situations.

Episode 3 sees the unmasking (or unhooding) of Superhoodie.

Nathan, Curtis, Simon and Kelly are forced to take on a vindictive tattoo artist in the episode, with both Nathan and Kelly falling victim to his apparent super powers. After being his usual gobby self, Nathan gets imprinted by ink-man Vince and, coincidently, falls madly in love with Simon. As Nathan is so overtly sexual anyway, it’s hilarious to see his attempts to woo Simon, especially when he writes him a heartfelt love poem. The group soon sniff out the culprit and confront Vince.

In the meantime, Alisha takes it upon herself to discover the identity of Superhoodie. She purposely provokes attack from a stranger, prompting our trusty hero to swoop in and save the day. After a nasty head-knock, Alisha wakes up in Superhoodie’s lair, which can really only be described as a British (and much cooler) Bat-Cave! Wandering around the room, filled with timers and photos of our five delinquents, she sees Superhoodie and he turns, only to reveal….. Simon. But not the usual Simon: ‘Future Simon’.

Future Simon soon reveals that he has come back to watch over them and to ensure certain events play out how they need to. He is cool, calm and confident, and miles away from the shy and odd Simon we see now. Alisha is instantly attracted to the fact that he can touch her without going into a sexual frenzy and remarks on how different he is. After swearing Alisha to secrecy, the pair have a tender yet lust-filled sexual encounter, filled with an unexpected passion and love that is surprisingly mature and powerful for a programme surrounding five angry youths.

Again, Superhoodie (aka. Future Simon) saves the day by giving the gang a pack of dry-roasted peanuts to defeat Vince – who is allergic. This brings a rather dark comedic light to such an intense episode, something that the writers consistently succeed in doing.

Future Simon doesn’t reveal anything about what has forced him to return, although it is hinted that perhaps he is back to save the woman he loves; Alisha. We can only hope that more will be revealed in Episode 4. I’m not gonna lie, the sultry and mysterious Future Simon has already prompted me to pre-order season 2. Rock on. Episode 3 has been my favourite episode of Misfits so far – a solid 9/10.

The game goes full circle…well, we hope.

Hurtling into to cinemas for Halloween, Lionsgate and Twisted Pictures have released what we can only imagine is the last instalment in the Saw franchise. Saw 3D, the seventh film surrounding the infamous Jigsaw killer, slathers audiences with a load of gratuitous gore, twisting storylines and of course, plenty of inventive death traps.

With Jigsaw dead and gone and Saw 6 leaving his successor, Detective Hoffman, with only half a jaw and a painful vendetta, the brutal ‘games’ go silent for a while; but not for long…

The film is a little different to the previous chapters, centring on a group of Jigsaw survivors who have all been brought together by Bobby, an award-winning writer who has made money out of his supposed fray with the clever killer. It quickly becomes apparent that Bobby has been anything but truthful about being a Jigsaw victim. Unfortunately for Bobby he’d managed to make it onto Jigsaw’s radar before his death, forcing Hoffman to teach him a deadly lesson.

Hastily abducted by our friends in pig masks, Bobby, his wife and his closest confidants all become part of the latest Jigsaw game. The five victims awake in horrific circumstances, chained, blindfolded and in one case, with a key down their throat. Bobby is given the opportunity to save all of them, but time and fear is against him and his rescue attempt is unsuccessful. Suffice to say, Bobby gets his comeuppance, losing everyone he cares about and being left to bleed out.



Who's that boy? Yes, it is indeed Chester of Linkin Park...set for certain death. Even making great music can't save you from Jigsaw's wrath Chester - you should know better.



Detective Hoffman, after fixing his jaw and seeing Bobby’s game through, sets out to take revenge on Jill Tuck for locking him into a Jigsaw trap. It soon becomes clear to the police and Jill that he’s not going to stop until he kills her. However, it seems that Jigsaw has left Jill with an all-too familiar face to act as her body guard…

Saw 3D stays true to it’s usual grizzly MO and 6 years on, still succeeds in coming up with new ways to bring characters to a deadly demise. Sadly the 3D aspects did the film little favour and the franchise as a whole did seem to have run out of steam a little. Parts of the film, especially at the very beginning, did seem a bit cheesy and offering more comedic value than terror! That being said, I was still cringing and squirming in my seat – using my coat as a barrier between myself and the gore in front of me. As such, when asked "do I want to play this final game?" my answer is: "Hell yes!" (as long as I’m NOT actually playing a real jigsaw game. Bleurgh). If you’ve been a fan of the films throughout, I would suggest seeing this final chapter, if simply for closure more than anything.

I’ve always been a fan of blood and guts, so what can I say; 7/10 from me.

The complete Back to the Future experience...

Apologies for the quietness on my front! Sadly it's been a mixture of studying for an oh-so-important test *pause for Ooo's* ...and also slight writers block. Lucky for you my fine friends, I had no trouble writing about this gem, as it sits quite comfortably in my Top 10.

On a chilly Thursday evening, with little to do but wait for Friday to come, I headed down to my local Odeon to catch the last night of the Back to the Future 25th Anniversary re-release. Considering it served a long stint in the ‘theatres’ back in 1985, there was a pretty decent turnout. I saw Gremlins a few years back and that didn’t get anywhere near as much of a reception! It was me, my boyfriend and, well, lots of empty seats. It just proves what a massive fan-base BTTF has, even a quarter of a century down the line.

After a multitude of trailers, the film finally begun its iconic story. Although you know what's coming around every corner, I still found myself grinning constantly throughout; all I can think is that the film was somehow further intensified by the cinematic experience as a whole. To be clichéd, everything was bigger, better and a million times more fantasmical.

For those of you who HAVEN'T yet seen the BTTF franchise, I will firstly say: “seriously, where the hell have you been for the last 25 years?! Do you live under a rock? Are you deaf and dumb??” - followed swiftly by this brief synopsis...

Unlikely duo, nutty professor Doc Brown and slacker student Marty McFly, team up in this seemingly typical 80s film to attack the audience with what can only be described as sheer time travel immensity. When Marty accidentally propels himself back to 1985 in a time-travelling DeLoreon, he finds himself dazed, confused and colliding with young versions of his teacher, his parents and lifelong bully Biff. Marty enlists the help of a youthful-looking Doc, but makes a ripple in the process, jeopardising the future of his family, and himself. The race is on for Marty to return everything back to normality in time to catch a bolt of lightning 'back to the future'. That's all you’re getting summary-wise because a) I don't want to ruin it and b) I feel slightly ashamed of you if you haven't seen it already. Tut tut. I may have to honestly reconsider our friendship.

The re-release achieves a great sense of familiarity and fun, coming together in the cinema to create a masterpiece that has proven that it can outlive the 80s and will be relevant for many years to come.

I would 100% recommend reliving this incredible experience on the big screen, it really puts watching it on any old bog standard TV to shame...even if you do have an overhyped Blu-ray system with glorified surround sound. It just isn’t the same, friend. So, get your glad rags on (by that I mean your 'life preserver'), crack out those Huey Lewis cassette tapes and brush the dust off your flux capacitor; because this rollercoaster definitely deserves a second ride. Gazillion/10.

P.S. On the back of the re-release, the legendary Michael J. Fox rebooted the original Back to the Future teaser trailer. I was so excited, I had to include it in this blog. So here you go:

A dinner party that will put ‘Come Dine With Me’ to shame

Adding to an extensive library of buddy comedies, primarily involving the awesome Paul Rudd, Dinner for Schmucks provides a cringeworthy and tickling bromance that offers a bizarre take on how to get a promotion.

Job-hungry Financial Analyst, Tim (Rudd), is fighting for a long-awaited promotion when his boss reveals that the only thing standing between him and a new office is a carefully-selected ignoramus. Every month, Tim’s boss hosts a ‘Dinner for Winners’ wherein the higher-level businessmen within the company bring along their very own simpleton to the meal, the best winning a prize for being the most ‘extraordinary’ guest. Enter idiotic buffoon and mouse taxidermist, Barry (Carell). Desperate to secure his promotion, Tim immediately goes on the hunt for the perfect guest, accidently crashing into Barry on the way – literally. Upon realising that Barry is a little bit right of crazy, Tim immediately befriends him and extends an invite to his special dinner party. Starved of affection and friends, Barry is quick to accept. Unfortunately for Tim, Barry is hoping for a lot more than dinner.

With the help of IRS mastermind Therman (Galifianakis) and obscure animal artist Kieran (Jemaine Clement), Barry unintentionally does his utmost to ruin the life that Tim has worked so hard to maintain. Not only does Barry mess up important client meetings, wreck Tim’s apartment and accidently flag him for a tax inspection, but he also becomes responsible for the swift departure of Tim’s beautiful girlfriend, Julie.

As Tim fights to put his world to rights, he soon realises that Barry was just naively trying to be helpful. Even after having a lovers tiff, the pair still decides to go to the dinner, even if it will humiliate Barry. The dinner itself doesn’t actually happen until the very end of the film.  Each abnormal guest puts on a show, varying from a nutty ventriloquist to a blind swordsman and an animal psychic. Barry showcases his talents by using his mice to demonstrate how mankind has evolved throughout the centuries. As Tim sees the heartfelt display that Barry has put on with his mice, he suddenly develops a conscience and tells the truth to all the ‘special’ guests that are being poked fun of. Although he wrecks the party in doing this, Tim is clearly happy with the prospect of having a clear conscience and also gaining a new friend – which is what a true bromance is about. Unfortunately the dinner offered a rather underwhelming climax, with the jokes sparsely distributed and the cringeworthy nature of the film so overdone by this point, that it is almost frustrating.

Sadly, what looked like a winning combination on paper fell to pieces on screen. I don’t think this was at all down to the acting however; I stand firm on my love for Galifianakis, Carell and of course Rudd. In this case the script failed the actors, providing jokes that were tired and repetitive and at some points, completely unfunny. Having said that, Paul Rudd plays his usual role of cringey wet-wipe well and Zach Galifianakis provides the most laughs with his mind-control antics. Dinner for Schmucks is not even close to being on the same scale as Role Models, I Love You Man and Anchorman, but the spirit is still there; 6/10.

Shyamalan proves his horror worth with 'Devil'

M. Night Shyamalan’s Devil is a claustrophobic and overwrought thriller, offering up a strong footing as the first instalment in his up-and-coming ‘Night Chronicles’ trilogy.

The film works off a supposed old wives tale wherein the devil torments a group of sinners before dragging their souls back with him to hell. Religious and Hispanic security guard, Ramirez, tells the story of how the devil comes to earth, posing as a corrupt human, and brings together this ‘devil’s meeting’. As the story goes, the series of events starts with a suicide and then the eventual deaths of whoever the devil picks to be his victims. In this particular instance, a thug, a blackmailer, a kleptomaniac, a conman and a murderer are all trapped together in an elevator. Unbeknownst to this group of miscreants, the devil is among them.

Sceptical detective and recovering alcoholic, Bowden, is brought to the scene where a lift has mysteriously stuck itself between two floors of a busy city skyscraper. Unable to communicate properly with the elevator’s inhabitants and with limited resource to restore the lift to full workability, all the police and security guards can do is watch the fear unfold on a small surveillance camera. The panic of the five trapped strangers is magnified by their close proximity, so when the lights flicker and the bumping and crashing begins, they are all thrown into a terrifying turmoil. This is when the devil claims his first victim. Starting with the salesman being impaled by the lift mirror, every time the lights go out, someone suffers a gruesome and painful death. To their captive audience, it is instantly assumed that one of the five is a homicidal maniac, biding his/her time and waiting to kill their fellow inmates. Only Ramirez, who thinks he saw the devil’s face flicker on the CCTV footage, is convinced that something supernatural is afoot.

Bowden initially refuses to embrace an idea that defies all logic, but quickly it all becomes too impossible and he starts to think that maybe the devil is behind it all. As the group is rapidly whittled down, Detective Bowden encourages an increased effort to rescue them from certain death.

It soon becomes apparent that the devil doesn’t want anyone interfering in his plans and even causes the death or injury of any innocents that try to get in his way. Not only that but it is ultimately discovered that the viewers watching the events unfold on CCTV aren’t there by mere coincidence either; everything has been carefully orchestrated by the devil.

With a classic ominous horror score and clever cinematography, primarily sweeping upside-down shots of Philadelphia, the film is strengthened by its strong attention to detail. Colours and numbers also play a great significance. Not wanting to ruin the ending on this one, I won’t reveal who the ‘devil’ turns out to be, but I guarantee the film carries off a ritual M. Night twist and will keep you guessing and perpetually on the edge of your seat...

Despite the sceptical comments of the press, Shyamalan storms into the horror genre, emerging a success and proving that Signs and The Sixth Sense weren’t just a couple of flukes. Let’s hope part two of the trilogy (rumoured to be named ‘Reincarnate’) can continue what Shyamalan has started with Devil. If you still have a little bit of faith in this talented writer, or simply need that faith restored, Devil is definitely a must-see. I was shocked that on the second weekend of opening I was sitting in a pretty empty cinema screen. A shame really, as I’d give the film 8/10.

Another action-packed zombie-fest from Paul Anderson

World-famed gaming franchise, Resident Evil, has returned yet again for another action-packed zombie-mutant movie in the form of third sequel, Resident Evil: Afterlife.

The film gets off to a promising start in the opening credits by travelling back four years to see how the t-virus and the Umbrella Corporation gained its foothold. This introductory scene is set in a rainy part of Japan and has some very strong cinematography, primarily when the camera focuses on a young girl in the middle of a busy pedestrian crossing, symbolically set amongst a ceiling of umbrellas. She slowly meets eyes with an older man and then instantly pounces on him, ripping into his neck and starting the spread of the T-Virus.

Picking up from the end of the last film, the first 20minutes of Resident Evil: Afterlife focuses on Alice (Milla Jovovich) successfully destroying the underground base of Umbrella and its inhabitants, with the help of her trusty clones. Albeit flawless in delivery, the initial Matrix-esque fight scene is just too long and a bit excessive – so much so that I was reasonably pleased when Wesker, Umbrella’s latest head honcho, escapes in a plane and blows the HQ (and Alice’s clones) to smithereens.

Wesker soon discovers the ‘original Alice’ lurking in the back of his plane, and after a brief stand-off, manages to stab her in the neck with a syringe containing the cure for the t-virus. Sure enough, Alice manages to escape from Wesker’s clutches but thanks to the anti-virus, has now lost all her supernatural powers.

The film maintains a reasonable storyline; despite some evident plotholes. Alice, in her returned-to-human state heads to Alaska to find Claire and the rest of her friends, only to discover that the whole Arcadia rescue mission was a farce, a trap set by Umbrella so that they had new specimens to experiment on. Only Claire has been left behind, and even she has been marred by memory loss, courtesy of an electrical parasite from Umbrella. Once Claire has regained her memories, the pair of them head back to LA to find and save their friends, having to battle a zombie or two on the way.

Unfortunately, despite a reasonable enough beginning, Resident Evil: Afterlife loses its way by not explaining enough about what’s going on. Followers of the games will be fine, and probably even pleased to see some newer game concepts taken into the film, but any other viewer would be left with gazillions of questions, ranging from: ‘where did Chris Redfield and Wesker come from?’ to, ‘Who’s that big guy with the axe?’ (The Executioner), and ‘why are the zombies even more mutated all of a sudden?!’

Although this film may be harder to follow than its predecessors, I’m still convinced that Resident Evil fanboys who follow the games religiously will be satisfied with the level of action, and the likeness between film and game. Resident Evil: Afterlife makes up for a lack of dialogue by retaining the traditional Resident Evil ethos; killing a shitload of zombies and looking hot doing it. The film also maintains its usual tense, edge of your seat feeling, significantly magnified by the use of 3D.

Aided by the omnipresent RealD technology, some great post-apocalyptic SFX, and Jovovich kicking ass just as much as usual, I give it 6/10.

Oh, and just a side-note, make sure you stay past the credits – there’s one of those sneaky ‘extra bits’ afterwards. And yes. It sets the film up for yet another continuation…

One hell of a Jacuzzi ride!

Serving up a platter of laughs, eighties frolics and, lets face it, one damn good Jacuzzi, Hot Tub Time Machine outdoes itself with some stellar Hollywood comedic-types and the ability to mock it’s own storyline.

Hot Tub Time Machine follows four deadbeats who are down on life, love and have generally lost momentum: Adam (John Cusack) is an uptight insurance broker who has been heartlessly dumped by his girlfriend; Jacob (Clark Duke) is a geeky teen, unable to leave his basement and glued to his laptop; Nick (Craig Robinson) is a down on his luck ex-rocker who now cleans up dog crap for a living; and Lou (Rob Corddry) is a steaming drunk whose family hates him.

After a supposed suicide attempt from Lou and in an effort to escape from the ever-increasing rut the four of them are slipping into, the four guys decide to take a weekend break to their old ski-resort haunt, Kodiak Valley. The hotel is nothing like it was in their eighties heyday and is significantly run down – even the bell boy is missing an arm! Luckily, the guys are fortunate enough to have a shiny looking hot tub on their veranda, which they waste no time in jumping into.

A mountain of booze, a squirrel and one can of illegal energy drink ‘Chernobley’ later, and the troubled foursome are not only suffering from pruney fingers and a killer hangover – they’re also surrounded by eighties paraphernalia. With brightly coloured lycra, cassette players, giant mobile phones (just like Dom Joly) and the fact that Michael Jackson is still white, they soon discover that they’ve been inexplicably fired back to the eighties; Winterfest ’86 to be precise.

With the time-bending hot tub fried, Adam, Nick and Lou embrace their eighties counterparts. As it goes with all time travelling movies, Jacob is quick to inform them that they have to repeat exactly what happened the first time round, or they may change the future. For Adam this means being stabbed in the eye with a fork, whilst Lou gets beaten up and Nick performs awfully with his band and gets booed off stage. Without even intending to, they do things insanely different but still end up getting injured in some way or another. A mysterious repairman, in the form of Chevy Chase, appears to tell them they shouldn’t be changing things and that they must find a can of Chernobley to get home as that was what spilled on the hot tub electrics, turning it into a Hot Tub Time Machine!

Together they hunt down and recover the Chernobley, which had been stolen by the guys who beat Lou up, and rush to get home. Lou, confessing he really was trying to kill himself in the present, stays in the past, hoping he can change his life for the better. He wasn’t wrong. Adam, Nick and Jacob return to the present to find Lou has exploited his knowledge of the future and is a billionaire, making his money from search engine, ‘Lougle’ and rock band ‘The Motley Lou’. Take that Butterfly Effect!

Hot Tub Time Machine is a guilty-pleasure comedy that doesn’t take itself too seriously. The storyline is nothing but ridiculous and it seems the writers knew this and just did the film for a bit of a giggle. Hearty laugh out loud moments, a corking eighties soundtrack and some of my favourite comedy faces gives this one: 6.5/10.

It doesn’t have Marty McFly and a flux capacitor, but it’s still pretty good going.

An increasing pile of dead people and a seemingly innocent child? Never. Time to open Case 39.

Case 39, starring Renee Zellweger as social worker Emily, is a supernatural thriller that extorts the repetitive Damien-style ‘devil child’ story.

Emily’s new case, funnily enough her 39th one, is with the Sullivans and their daughter Lilith. On the surface, the Sullivans are a dysfunctional family who have it drilled into their heads that Lilith is some demon spawn that needs to be sent to hell. One scene in particular, where the Sullivans barricade their daughter into a large oven, is quite harrowing and really highlights the sadistic nature of child abuse. However, this is one of the films only saving graces.

After a rather dramatic rescue, workaholic Emily manages to get the Sullivans checked into a first-class psychiatric facility, leaving Lilith in her capable hands. Obviously it becomes clear all too quickly that Lilith isn’t all sweetness and light as originally observed and Emily soon finds the people closest to her dying bizarre deaths; most notably the supposed suicide of love interest and child psychiatrist Doug, played by Bradley Cooper. Confessing earlier in the film to Lilith that he has a fear of hornets, rather fittingly Doug finds himself locked in his own bathroom with hornets flying out of every orifice. Not pretty. Although Doug’s death is suitably disturbing, the film fails in making him a worthy love interest for Emily and also struggles in introducing the character effectively to the viewer.

As things get progressively worse, Emily resorts to working longer hours than usual, leaving Lilith home alone, hiding all her case files so Lilith can’t contact any of her case targets, and even putting deadbolts on her bedroom door. It soon becomes apparent however, that it’ll take more than a few locks to keep Lilith at bay, and Emily resigns herself to the fact that she needs to kill the child, or the demon inside of her. Despite several attempts to get rid of Lilith, Emily soon discovers that she is able to survive more deaths than Jason. Eventually she resorts to driving them both into a river, finally killing the beast (we hope!) and nearly fatally harming herself. Sadly for Emily, by this point she has already lost her best buddy, potential boyfriend and has no home to speak of. Bummer.

The film left me with one lingering question: why had the Sullivans never thought of drowning Lilith in the first place? If it was really that easy, then why the hell not? The ending was a bit of a cop-out for me, after all, would a bit of water really kill a little girl who can murder people with a mere thought, survive a house fire and who is insusceptible to sedation?! Don’t think so…

Case 39 succeeds in offering up several tense and supernatural moments but these are short-lived, meaning it gets a perhaps over-generous 5/10 from me. Unfortunately it’s a storyline that has been rehashed too many times and it’s unsurprising that Paramount delayed the release for so long. Worth a Blockbuster rental but I won’t be adding it to my DVD collection anytime soon.

My recommendation, if you want a real spine-tingling ‘creepy kids’ TV spot, is Supernatural’s ‘The Kids Are Alright’ – Season 3, Episode 2. Scary shizzle.

M.I.A.

Apologies for being missing in action over the last week peeps (or the few of you that follow me!) - it's been a hectic one! Just to keep you filled in on the goings-on of you favourite reviewer (ha ha), I've been busy with the following:

A wedding:

...a weekend away to Suffolk, w/hot tub:

...injuries (urgh):

...and also not forgetting, a disposable barby! Ahoy!:

I hope these are sufficient excuses for you...if not: TOUGH. ;) Never fear though, I have reviews for the likes of Case 39, Legion, Hot Tub Time Machine and many more in the pipeline. Stay tuned. Or whatever the reading equivalent is....

Peace.

Alex X

Scott Pilgrim is the Sex Bob-Omb!

The eagerly anticipated Scott Pilgrim Vs. the World from director Edgar Wright, serves up a plate of nonsensical, unsolicited fun. With kick-ass fighting scenes that out-do the likes of Tekken, a range of awesome indie tunes, and incredible visuals throughout, the film is the perfect escape from reality for any moody teen or big kid.

Scott Pilgrim, lovingly played by the geeky yet cute Michael Cera (Juno, Year One, Superbad), is a twenty-something bass player with little direction in life. Cue sexy bad girl Ramona Flowers. Pilgrim falls madly in love with Ramona, only to discover she comes with more baggage than the usual girl, in the form of 7 evil exes. What comes next is a multitude of justifiably over-the-top battles, incorporating some fab fight moves from Cera, electrical music monsters, a load of comic-book stylings and super-powers cool enough to give Spidey a run for his money.

The highlight of the film is its likeness to eighties videogames, like Pac-Man. Everytime Pilgrim successfully defeats an ex, they explode into coins. Not only that, but the Pilgrim-verse gives Scott the ability to gain extra lives, fight in split screen and have all the onomatopoeias you can ask for showing up on screen whenever he throws a punch. Also, whenever a new character is introduced, their name and age comes up next to them on screen; again this gives a virtual feel to the movie.

Brandon Routh plays avid vegan Todd, my favourite evil ex. His super-powers are seemingly enforced by his pretentious vegan nature and although he struggles to string an intelligent sentence together he proves to be a tough kill for Pilgrim. Another character that gives the film that little bit extra is Wallace Wells, Pilgrim’s gay roommate. Played by Kieran Culkin, Wallace offers a vast amount of comedic value with his ability to send a gossipy text even when he’s passed out, by turning straight men gay, and by generally highlighting Scott’s stupidity and ineptitude with women.

Wright succeeds in keeping the film as true to the graphic novels as possible, whilst adding his own British spin. Snappy cut scenes, as seen in previous Edgar Wright gems Shaun of the Dead and Hot Fuzz, are used to effect when Pilgrim is rushing off to battle his next nemesis. The film is well cast and although it has its fair share of special effects, it doesn’t rely on these to carry the film, unlike a lot of current blockbusters. A wicked sense of British humour, several cringe-worthy moments and an underlying love story really help the film come into it’s own.

With a simplistic yet relatable storyline and enough KOs, smashes, biffs and POW!s to keep any comic-book fan happy, Scott Pilgrim Vs. the World gets 9/10.