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SQUIB CENTRAL
By Joshua Jabcuga
2010-08-24 - Scott Tipton Vs. Josh Jabcuga Vs. Scott Pilgrim Vs. The World
Scott Tipton Vs. Josh Jabcuga Vs. Scott Pilgrim Vs. the World: Wherein Jabcuga goes against the geek grain and explains why he believes the movie tanked.
In his column last week Comics101.com cohort Scott Tipton proclaimed his love for the film adaptation of SCOTT PILGRIM VS. THE WORLD. He even reiterated in print something he had told me over the phone the week after attending Comic-Con, and that was his fear that the film would fall victim to the "SERENITY syndrome," in which, and I quote, "far too many preview screenings have softened the audience base to the point that what people might think would be a slam-dunk hit based on the overwhelmingly positive Comic-Con reaction, turns out to be a slightly disappointing slumper at the box office."
I respectfully disagree on many levels, sir.
First off, let's get this out of the way: SCOTT PILGRIM got slaughtered at the box office, debuting in fifth place with an anemic $10.6 million, getting handily defeated by Sly Stallone's THE EXPENDABLES, which took in an ass-whooping $34.8 million, according to IMDB.com. No contest. Forget the seven evil exes. Scott Pilgrim should have feared Sly Stallone and his grumpy, old men.
Now let’s address this so-called "SERENITY syndrome." I have a different take on this. It’s called, "Just-because-a-rabid-hardcore-fanbase-has-a-gangbang-group-orgasm-at-Comic-Con-doesn't-mean-you-have-a-successful-film-on-your-hands-syndrome." That something else on your hands is geek-goo, now go mop up before you continue.
More to Tipton's point: Too many preview screenings.
Really? Even if everyone who attended Comic-Con got a free pass to a SCOTT PILGRIM VS. THE WORLD SCREENING, let’s say 120,000 attendees, at nine bucks a pop (an average movie ticket, when you factor in matinee showings, kids at discounted rates (some), etc), that's only a little over a million in box office, no?
Let’s give Tipton's theory the benefit of the doubt, though. THE EXPENDABLES garnered a huge buzz, and didn't offer up a ton of free screenings, at least not compared to SCOTT PILGRIM. It debuted at number one with the aforementioned $35 mil. Where does the discrepancy come into play then?
My theory? Comic-Con buzz doesn't always equate to box office gold. We've seen it before. Anyone remember Zack Snyder's WATCHMEN? Same scenario, er, syndrome, different year.
The Con brings in about 120,000 of the most diehard comic-book and pop culture fans in the world. They're diverse, yet deceptively so. They represent many demographics, including the lucrative 18-34-year-old market, but many of these fans, I'd say the bulk of them, "get it." They're an easier sell. (And let's all agree that the SCOTT PILGRIM film was a rather quirky, ambitious project to market.) Some may disagree and say these fans are more critical, but I think the Con fans are intelligent by and large, and their sensibilities are more in tune with the type of dish that Edgar Wright cooked up with SCOTT PILGRIM. This is a hive that will embrace the sweet nectar of creative and fresh ideas, ideas that are tough to market to areas outside of the honeycombs. But no matter how much buzz there is, in and around the hive, the more removed you are from it, the more difficult it is to hear it.
Let's go with the notion that Comic-Con audiences are the type that might have supported such innovative and hard-to-categorize films such as GRINDHOUSE and KICK-ASS. Fact: those, too, sadly underperformed at the box office.
To break down the marketing campaigns, are studios neglecting the timing of such releases? Maybe in SCOTT PILGRIM'S case, things popped too soon? Hell, does it truly matter anymore when films open, with such short windows between a movie's theatrical debut and its subsequent DVD/Blu-ray release?
What about the season? Traditionally the summer is known for tent-pole pictures and A-list action flicks that a studio can hang their hats (and fortunes) on, and the fall is known for Oscar-bait and the occasional feel-good, or tear-jerker, drama. Wisely, or in retrospect, perhaps unwisely, the studio decided to save SCOTT PILGRIM for the end of the summer, when most studios release their dawgs and turds, and also to avoid competing with the juggernaut that is IRON MAN 2 (and TOY STORY 3). SCOTT PILGRIM was universally very well received by critics and audiences alike, so by hitting at the end of the summer, it should have batted clean up and really cleaned up at the box office. But that didn’t happen.
During summer months are moviegoers just looking for pure escapist entertainment? Nope, not always, because that theory has multiple flaws. Both GRINDHOUSE and KICK-ASS were released in the spring months. Oh, and there’s a little movie you might have heard of called INCEPTION that’s kicking all kinds of ass this summer. Sure, it’s got all kinds of eye-candy special F/X, but as I said before on my Twitter account (www.Twitter.com/Jabcuga), watching that film is a bit like trying to solve a Rubik’s Cube with your taint. It’s not exactly an easy film to keep tabs on.
Let’s get back to SERENITY for a moment, shall we? Not the feeling of serenity, and not Tipton’s “SERENITY Syndrome,” but SERENITY, the film itself. Wasn't that a film based on a TV series that was cancelled? Joss Whedon is notorious for being one of the kings of Comic-Con. Due to his BUFFY THE VAMPIRE SLAYER TV series, among other things, he’s got geek cred to spare. He’s the Scrooge McDuck rolling around in golden coins of geek cred. It’s no wonder SERENITY was treated like the prom king at Comic-Con, and then unceremoniously dumped once it went into mainstream waters. Maybe it's because we all know that Whedon's a hack. (What? He's helming Marvel Studios' most ambitious project to date in THE AVENGERS? I was just kidding...wanted to see if you were still paying attention. Ha! Calm down, calm down. I respect "the Whedon" and I look forward to seeing what he does with THE AVENGERS.) SERENITY has a ton of fans, so is yet further proof that Comic-Con buzz is very misleading. The poor studios would have an easier time following the plot of INCEPTION than cracking the code of the Con, and turning it into bankable money. (Maybe studios should just make a film called "Joss Whedon: The Film.")
So, theories and charts and scientific tables and hyperbole and metaphors aside, why didn't I like SCOTT PILGRIM VS. THE WORLD?
I didn't think the character of Ramona was worth fighting for. Sure, I was smitten by actress Mary Elizabeth Winstead like any self-respecting geek. But Ramona? Too much baggage. Seven evil exes? Some of them she doesn’t even appear to be completely "over" or finished with.
I've dated girls like Ramona. We all have. You know what you tell them? "Do me a favor and lose my number."
That's a lesson Scott Pilgrim will learn someday. It's inevitable.
As far as why the movie tanked with the masses? Maybe the masses already learned that same lesson. They're painfully aware that there are plenty of fish in the sea. And they moved on before Scott Pilgrim could even put up a fight.
Until then, Tipton and I will agree to disagree on our syndromes.
What's your take?
Follow Josh on Twitter for news, views, and contests at: www.Twitter.com/Jabcuga
Joshua Jabcuga is a freelance writer most notable for his two comic-book series, SCARFACE: DEVIL IN DISGUISE, and THE MUMMY: THE RISE & FALL OF XANGO'S AX, both available from IDW Publishing (and can be purchased at Amazon.com). His online column, Squib Central, is available exclusively for Scott Tipton's www.Comics101.com. His work has also appeared in Penny Blood magazine, ChuckPalahniuk.net, Bookgasm.com, and Horrorworld.org, among other places.
"Josh Jabcuga can take the 26 measly letters of our crude alphabet and capture the bi-polar soul of all that is classically yet disturbingly American. Then, when his typewriter is left to cool, he can turn right around...completely ready to trounce any drunk punk that's got me backed into a corner." -- The Colonel J.D. Wilkes of The Legendary Shack*Shakers, currently appearing on the soundtrack to HBO's hit series, TRUE BLOOD.
