Cast: Simon Pegg, Nick Frost, Martin Freeman, Paddy Considine, Rosamund Pike
“I hate this f**king town!”
Ahoy, blokes! Aidan here.
My brain is fried in the best way imaginable. As expected, Edgar Wright has knocked another one out of the park.
I love the first two entries (Shaun of the Dead and the equally-gory Hot Fuzz) in the director’s masterful Cornetto Trilogy, with Hot Fuzz being my favorite.
One of the most creative and energetic directors working today, Edgar Wright only makes one film every three years or so – and after watching any of his films, it’s apparent why. He slaves over every single project – be it Spaced, Shaun of the Dead, or Hot Fuzz – as if it were singular and definitive, pouring himself entirely into crafting a dense web of narrative greatness. If you think the rapid-fire comic brilliance of Edgar Wright films take a lot out of you, imagine what they do to him.
The World’s End is no different. Meaning it’s fast, hilarious, poignant, and damn well worth the wait.
The World’s End follows five middle-aged friends who reunite in an attempt to finally complete their epic pub crawl from twenty years earlier. On their trek to The World’s End – the final pub in their journey – they uncover a world-threatening conspiracy and unwittingly become humankind’s only hope for survival.
It’s great. If you’re not into British humor – and I acknowledge and accept that lots of people aren’t – don’t worry. Edgar Wright films are just plain universally funny. The setups and payoffs are so brilliantly executed, so painstakingly woven into the story, you’ll find yourself wondering why all movies don’t put forth this much effort.
As a co-writer of the film, Simon Pegg already has a knack for cinematic creativity. He executes the material perfectly here, especially when he’s alongside partner-in-crime Nick Frost. From the stars to the supporting cast, everyone is on-point, perfectly timing their smartly-written quips and crafting believable, often dramatic, characters that we care about.
The World’s End takes its characters places you don’t expect. These are deeper, more three-dimensional people than we’re used to seeing in standard comedies. These feel and act like real, fleshed-out people, and when the film takes surprisingly dramatic turns, you feel fully invested in the consequences. The tonal shifts never feel jarring or out-of-place.
Rarely do I see a film where everything works – every joke, every plot point, every shot and edit.
The World’s End has now made my list as one of those rare occurrences.
On one level, it’s an expertly-crafted comedy with rich characters and hilarious gags, but on another, this is a powerful example of what a film can be – this is quality. This is ambition. This is art.
The World’s End is exactly what I expected, in all the best ways.
It’s a riotously good time at the movies, and a welcome reprieve from the bullshit of modern Hollywood. Go see it!