With the final instalment of ‘The
Cornetto’ trilogy, writers Simon Pegg and Edgar Wright have bought us a film
about what it means to move on and grow up. It’s an apt theme as the film
itself is by far the most grown up and mature work the pair have produced so
far. Pegg stars as Gary King, a man-child stuck in the past who brings together
his childhood friends to attempt a re-enactment of a fateful night over twenty
years ago when they tried but failed to complete the ‘Golden Mile’, a twelve
stop pub crawl through their home town. Although the friends are unsure, they
accompany Gary
but what starts as a trip down memory lane, turns into something quite
unexpected when it is revealed that the people of Newton Haven have been taken
over by an unknown force.
I’m not a huge fan of Shaun of the Dead and Hot Fuzz, the other films in this loose
trilogy but I found them both entertaining. I personally think that The World’s End is the best film of the three but probably isn’t the
funniest. It’s a more measured, thought provoking film which strangely evokes
parallels in the audience’s lives while providing entertaining moments along
the way as well as the odd laugh. Pegg and Wright appear to have recognised
that their audience has grown with their films and they suitably include themes
which you wouldn’t find in their earlier work. The movie reminded me of Toy Story 3. That film included ideas
about ageing and one’s place in the world after the fun and laughter of the
first two films. This instalment is pitched in a similar way.
The alienation felt upon
returning to one’s hometown is something I can relate to. My hometown is not
too dissimilar to the fictional Newton Haven in size and it’s the sort of place
which most people leave when they reach eighteen or so. Going back always feels
strange. It’s an odd sensation of both change and similarity. Things stay the
same but they feel different. This is captured in The World’s End and milked for the purposes of the ‘invasion’ which
provides the action of the second half. The writers reference the likes of The Day the Earth Stood Still, Invasion of the Body Snatchers and other
50s sci-fi and the change in tone in pub four is well handled and unexpected,
even though you’ve seen the trailers and know what’s coming. I also think that
the film owes a debt to other recent British successes such as Sightseers and Attack the Block for its violence and science fiction elements. At
the moment though, there appears to be a sort of Rat Pack mentality in good
British cinema with members of each tribe appearing in or working on the others
films.
As I mentioned in my opening, I
didn’t really find the film that funny. It probably didn’t help that I was in a
screening with a total of three audience members but even still, it didn’t
tickle me much. That being said, there are some funny moments and the script is
rich and entertaining. It feels as though they decided on story first, laughs
second though and I don’t think that was a bad thing. When it comes to comedy
films, the funniest aren’t always the best. City
Lights is my favourite Chaplin but it’s not his funniest. Whereas jokes
wear thin on the second and third watch, great stories only get stronger. Sometimes
I find Simon Pegg an annoying and unwelcome screen presence and that was
occasionally the case in this film. His character is written that way but
despite not really liking him, I did find him quite funny. He plays that loser
guy who you see in pubs back home, unable to move on, still living on passed
glories. American films have featured this character for decades, the
ex-quarterback bully type who still lives with his parents ten years on, but I
haven’t really seen it done in a British film.
The other characters are a little
samey but each is well written and also well designed. The costumes look great
and fit each character perfectly. Frequent Pegg collaborator Nick Frost has the
largest role of the ‘Four Musketeers’ and comes out of his shell as an actor.
I’m used to seeing him as the sidekick funny-man, short on brains, big on
laughs. Here, like the film as a whole, he’s grown up and playing the
straight-man. Playing it really well. Paddy Considine is fantastic as Steven
while Martin Freeman plays, well Martin Freeman with a Bluetooth headset. He’s
good but he’s playing the same character he has done for the last decade. Eddie
Marsan fades into the background slightly as a nice guy. He’s not as imposing
as I’ve seen him in the past. Rosamund Pike isn’t given much to do besides be
the girl one.
Edgar Wright’s direction is as
mature as his writing and features some nice swooping camera movement and an
overall assured style. The action scenes were well choreographed and the CGI
was excellent but I lost focus in some of the faster paced scenes. An area
where the film really excels is in its soundtrack. While the score is a little
boring and expected, the soundtrack opens with a strange mashup of radio
announcements and dance music before settling into a great sounding collection
of early 90s Madchester stuff, the sort of music the friends would have
listened to when they were in their teens. There are several knowing mentions
of this music in the script too.
Despite a few moments of boredom,
The World’s End is a raging success.
It’s no masterpiece but the story is strong, plunging emotional depths late on,
while the laughs are infrequent but arrive often enough to qualify it as a
proper comedy. The sci-fi elements are strong and the reasoning for their
inclusion works fine but I think the reason I liked this film above all else is
that it spoke to me about how and why we move on and get stuck in the past. The
writers have taken a moment in their character’s lives in which their paths
diverged and bought them back to relive, rediscover and recover and it’s
something that is instantly relatable.
8/10
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