Directed by: Edgar Wright. The most obvious thing to say about this film is how DELIGHTFUL it is to see quaint old Canada brought to the big-budget big-screen in a major Hollywood vehicle. Universal—that’s legit! But seriously, it’s kind of cool, eh? I’d say it would cross that fine line into being unbearable and condescending if they were foolish enough to put an American at the director’s seat (God forbid putting a Canadian in there). Of course, Edgar Wright’s style is perfect for this kind of thing anyway. I haven’t read the source material, but I flipped through the first few pages (in Toronto no less) and I was shocked at how absurdly faithful Wright stayed—almost line for line, cut for panel—and still managed to let it feel like an Edgar Wright film. It’s astounding how well those two sensibilities were in sync together on this thing. But to backtrack a bit, I think there’s something in seeing Canada through British eyes that let this film flourish. When I watched this thing, I was expecting to be too jaded with the first glimmers of adulthood to really let go and enjoy watching 21-year-olds traipse around a cartoon version of modern Toronto. But I was completely drawn in—disbelief completely suspended, skepticism cut in half. It’s genuinely a really funny, fast-paced, charming little film, and Michael Cera is perfect for it. Haters, I don’t know what to tell you, because he nails it in this one. Anyway, I would go so far as to say that the British are the only ones capable of imbuing this much playful wonderment upon our dear old Canada: most Canadians have too much real-life mundanity (and yes, cultural modesty and inferiority) to do it, and Americans are all a bunch of condescending, arrogant assholes (I can say that because my grandfather was American, and the most humble person in the world). At any rate, this is a thoroughly watchable, re-watchable, 20-times watchable film. Watch it alone, watch it with friends, watch it sober, drunk, with your girlfriend, with your boyfriend, with your parents, it doesn’t matter. And, having gone through Canadian Film Studies, I hope this becomes required viewing for anyone wishing to obtain a complete picture of Canadian film mythology.