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From there we have "Pre-Production Footage" (SD, 15-minutes), "Animatics" (SD, 36-minutes), Rehearsal Videos (SD, 9-minutes), "Props, Rigs & Set Montages" (SD, 2.5-minutes), "Casting Tapes" (SD, 13.5-minutes), and finally, "Hair and Make-up Footage" (SD, 11-minutes). Next up are four "Music Videos" (SD, 10-minutes), and seven "Audio Visual Remixes by OSYMYSO" (SD, 9.5-minutes), a really entertaining and clever mashup of some of the best dialogue bits from the film, remixed! From there we head over to post-production, with the "Visual Effects" section.This totals up to a whopping 87.5 minutes of pre-production material. "VFX Before & After" (SD, 14.5-minutes) looks at a few of the film's more effects-heavy sequences.He starts to woo her behind Knives' back, but soon things take a turn for the unexpected when, during a concert, Ramona's first ex-boyfriend shows up demanding a duel. The film take a major left-turn into surrealism, and now Scott must successfully defeat all seven members of "The League of Evil Exes". the World takes a lot of inspiration from videogames is an understatement.From the opening 8-bit version of the Universal Studios - replete with 8-bit rendition of Jerry Goldsmith's fanfare - it's safe to say that the audience is going to be in for a very unique experience.There is so much happening in this track that it's difficult to know where to keep your ears.The "bass battle" between Scott and Todd (Routh's character) will have your subwoofer working on overtime.

Based on the popular graphic novel by Bryan Lee O'Malley, the film starts out simply enough: 22-year old Scott Pilgrim (Cera) is the bass player in Sex Bob-omb, an indie rock band.

Once the battles begin, it's even more apparent that this is a live-action videogame, with hyper-fast camera cutting, wild visuals, and plenty of adherences to videogame principles.

When an ex is defeated, they explode into a shower of coins, and Scott "level-ups".

The film has a very processed look to it at times, given the graphic novel and video game nature of the story, but contrast is solid, with deep blacks, and color is slightly desaturated at times, and overblown at others.

A light veneer of grain keeps things very film-like, and there was no compression artifacting at all to speak of. Audio is presented in a DTS-HD Master Audio 5.1 English track, and oh boy does it rock the house.

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We then get a Technical Commentary with Wright and Director of Photography Bill Pope, focused on the shooting of the film, the look of it, the locations, and more.

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