WILLIAMS' NEW SONG 'SUMS UP HIS LIFE IN A VERY HONEST WAY', SAYS KESSLER
Barnard also reports that Williams wrote the title track to the documentary, and was sent an mp3 of the song, which, she writes, "it has the signature Williams mix of melancholy and flashes of self-deprecating humour." Regarding the song, Kessler told Barnard, "I think he summed up his life in a very honest way. It really adds something."

Last week, Criterion released Del Toro's feature debut, Cronos, on DVD and Blu-Ray. One of the bonus features is called "Welcome to Bleak House, a video tour by del Toro of his office." According to Manekikoneko, the tour includes several mentions of Phantom Of The Paradise, with "models and everything." (Manekikoneko thinks Del Toro may have mentioned Phantom during the Cronos commentary track, as well, but does not remember for sure.) In any case, about a month ago, Del Toro moderated a discussion with fellow Phantom fan Edgar Wright, along with the cast and creator of Scott Pilgrim Vs. The World at Los Angeles' Egyptian Theatre. At one point, Del Toro and Wright agree that they share at least two very favorite films: De Palma's Phantom Of The Paradise, and Mike Hodges's Flash Gordon, both of which were among the cinematic influences on Wright's Scott Pilgrim adaptation.

However, Kirk Honeycuty at the Hollywood Reporter, who calls the film's style "juvenile," wonders whether anybody outside the Comic-Con and youth crowd will care. "The movie does everything its makers can dream up to imitate a manga," writes Honeycutt. "Screens split in half and then in half again. Action speeds up or slows down. Comic-book word sounds — “whoosh,” “r-i-i-i-i-n-g,” “thud” and the like — pepper the screen. Backstories about exes are told in rudimentary sketches. The movie frame becomes a graffiti zone where the filmmakers can insert all sorts of written commentary including the fact that a character has to pee. How edifying is that?" Variety's Peter DeBruge echoes Honeycutt's view. "An example of attention-deficit filmmaking at both its finest and its most frustrating," writes DeBruge, "Scott Pilgrim vs. the World blends the styles of videogames, sitcoms and comicbooks for a mostly hollow, high-energy riff on the insecurities of young love. With Michael Cera in the title role, twentysomethings and under will swiftly embrace this original romancer, which treats the subject as if there were nothing more important in all the universe, though anyone over 25 is likely to find director Edgar Wright's adaptation of the cult graphic novel exhausting, like playing chaperone at a party full of oversexed college kids." Despite this, DeBruge concedes that the film is "a feat of economical storytelling, rendered in the vernacular of small talk and text messages." And on the subject of the film's many many characters, DeBruge writes, "The fact that we can keep all these characters straight while intuitively following the movie's unique vidgame logic is a testament to Wright's never-dull directorial skills."

Techland's Lev Grossman, acknowledging the hype that goes with being "pampered" at a surprise screening, calls the film "beautiful," saying that the film's real star is the director. "Practically every frame has a visual or auditory gag in it," writes Grossman, "goofing on eight-bit games and rock cliches and action movies. (The characters are always trying to do snappy banters in fight scenes, then getting confused and having to explain the joke.) Nothing ever comes at you straight. Some of this stuff is lifted from the book, but some are Wright's own riffs -- at one point, when Scott and Wallace are hanging out in their apartment, Wright starts dropping in Seinfeld music and a laugh track behind the actors, and the scene turns into a dead-on parody of a sitcom. For maybe 20 seconds. How Wright keeps this stuff coming for an entire movie is beyond me."

Cinematical's Todd Gilchrist sees the film as a cultural benchmark that will divide critics, although he himself is quite taken with it. "As far as deadpan hipster comedies are concerned," writes Gilchrist, "Scott Pilgrim is the Godfather of the genre – a massive, sprawling epic that builds and builds while offering just enough ironic asides to make fully sure that no one involved is taking themselves too seriously." Gilchrist adds that, "Cinematically, director Edgar Wright continues to grow by leaps and bounds with each film, and here his mastery of technique pioneered by others finally and firmly becomes its own style." However, Gilchrist feels that Wright's rapid pacing may rub some the wrong way. "Wright's breakneck editing and pacing makes Michael Bay look positively pastoral by comparison, and it's probably here where Scott Pilgrim may suffer from many of its most passionate criticisms. I was certainly never lost in the filmmaking flourishes, even when Wright would cut breezily through several locations over the course of a single conversation, or chop up the action into bits so fine they looked almost like the ones and zeroes that provided the animators with their raw materials. But this is resolutely a film for a generation of moviegoers that is acclimated to music video-era storytelling, one less interested in formalism (much less classicism) than the sum total of a scene's emotional weight or energy, and it may turn off folks who want something that's subtler, more reflective, or even just a little slower."