Well, if we’re all going to die soon, might as well go out with a bunch of drunken nerds.
After failing to complete “the Golden Mile”, some 20 years earlier, old high school friends Gary (Simon Pegg), Andy (Nick Frost), Oliver (Martin Freeman), Peter (Eddie Marsan) and Steven (Paddy Considine), all reunite to try to recreate, and hopefully finish, their epic pub crawl. However, time hasn’t done any of them any good, and they’ve all found themselves losing connection with one another, becoming working members of society, getting old, getting responsibilities, getting kids, getting wives, and etc. Except for Gary, who is a recovering drug-addict that practically forces them into this whole reunion of sorts, which, surprisingly, seems like it’s going well for quite awhile; that is until they all begin to realize that something is rather amiss with their hometown. Not only is everybody acting weird, but everybody they ever knew is still there. What could be the cause to all of this? And hell, what are they going to do to make sure they stay alive throughout the whole night? Eh, just keep on drinking.
Well everybody, there does it! The World’s End marks the end of what everybody knew as “The Three Flavours Cornetto Trilogy”, and what a trilogy it was! Shaun of the Dead started things off perfectly, not just making fun of horror movies, but showing the heart and the fun that could be had with those certain movies if you took them seriously; and Hot Fuzz pretty much did the same thing, but instead of it being horror movies, this time it was buddy-cop movies, male-testosterone and all. And last, but sadly least, we have this movie and it’s surprisingly different from the other two, and not because it’s a lesser-product, but mainly because it isn’t spoofing any sort of movie genre or idea. It’s basically it’s own wild beast, and for that, it deserves a whole slew of credit.
But also, more credit should be given to this flick because it’s exactly everything you’d expect from Wright, Penn, Frost, and co.: quick, funny, full of sight-gags, action-packed, witty, and best of all, has an underlining heart and soul to it’s final-product that really helps even it all out. Nothing here in this movie will necessarily surprise you in terms of its sense of comedy, action, or where the story-line goes and why, but what it will surprise you with is how damn dark it can somehow get. And I don’t mean to use the word “dark” in a bad way either, it’s more of a welcome addition to a trilogy that needed some serious dosage of it, especially for the last installment.
For instance, if you take the whole character of Gary King into thought, he is essentially a very damaged, sad and messed-up person, yet, is able to get past on the sure with and charm of Pegg. Gary has not only become a loser ever since his grand days of high school were up, but he’s become something of a explosive device, just waiting for his time to blow up and disintegrate into the air. We see that he misses his lads, he wants to relive those glory days, and will stop at nothing to get them back, but yet, also doesn’t have an ounce of morality located anywhere in his soul, which therefore, makes him a hard character to really root for or connect with. Yet, he’s a human, and you can tell that out of everybody involved, he needs this reunion the most, as if it’s sort of a way to give his life some meaning and a reason to live.
If you haven’t been able to tell just yet, yes, this is some very dark stuff, but Wright uses it to his advantage by touching on all of the emotional-notes that worked so well with the past two, and to make matters even better: The dude seems to really be living it up behind-the-camera.
It’s fairly obvious that Wright is the real deal when it comes to fast-paced, punchy, and movies that MOVE, but here, he shows total and complete in control in his material, and allows for his it to get even weirder and weirder as it runs along. What starts out as a movie along the lines of Beautiful Girls, somehow becomes Invasion of the Body Snatchers, and it’s as bizarre of a transitioning as you’re expecting, except that it’s more fun and entertaining to watch here, rather than what’s probably playing in your head. Once it gets revealed to us just who these “things” are, it’s an all-out fest of jumps, thrills, chills, and epic throw-downs (especially the first scene in the bathroom where it’s 5-on-5, no holds barred), that will probably bring you back to what Wright did 3 years ago on his own with Scott Pilgrim. Just goes to show you that as time goes on and he gets more projects under his belt, Wright is growing into being his own type of director, and showing us that he will continue to do so, regardless of if it’s with his fellow, British pals or not. All we have to do now is wait for what he has in store with Ant-Man, and then he will totally be the finest director working today.
But as I said before, this is sadly the lesser of the three, and I think that reason is because the switch in tone is so obvious and a bit jarring, that it’s too hard not to get past. I won’t give away what happens, or what’s revealed to us when we realize what’s really going on underneath it all, but I will tell you that it definitely changes the way the movie works, and how it becomes serious. There’s an sense of seriousness and heart to this material that shines through in certain spots, but once we realize that something’s wrong with the night’s proceedings, then it gets very serious and dare I say it, “melodramatic”. Don’t get me wrong, the movie was still fun, exciting, and full of yucks and chuckles, but the tonal-change in the middle that we’ve come to see and expect from Wright’s flicks isn’t as subtle here, and it definitely changes the mood and the overall outlook of the rest of the flick.
With that said, it’s still an Edgar Wright flick, and with that being said: The cast is still full of a bunch of heavy-hitters that show they can be dramatic, but still hilarious as well.
Case in point: Simon Pegg. Everybody knows that Simon Pegg is a funny guy, and everybody knows that he can use his British wit and charm to his advantage, but what really surprised the hell out of me here was how deep he went with this character, not just showing us a damaged-soul, but one you can feel an ounce of sympathy towards, even if he would never, ever feel it towards you. Pegg really gets to the bottom of who this guy is, why, and where he will most likely be going with his life, but while he’s at it, also seems to be living it up, dialing it up to 11, and totally letting loose on his comedic-chops. Everything the guy says, does, and even thinks about is hilarious, and it shows that not only is Wright growing as a director, but Pegg’s growing as an actor, one that can get to the root of any character, given the right material, time and place.
Same goes for Nick Frost who, believe it or not, is actually playing the straight-man to Pegg’s crazy and wild antics as Gary. Frost has never really shown us resilience in his acting, but he shows it here and makes us realize just what we’ve been missing out on all of these years. He’s funny, sweet, a bit sad, but also a bit bad-ass when the movie needs him to be. and it just goes to show you that Frost is growing up alongside his fellow mates as well. However, Pegg and Frost are just the beginning of what’s a very good, very well-equipped, and very attuned cast to the material they’re working with here, as it seems like everybody else involved knows what they’re getting themselves into with this movie, how to play it off, and why they have to give it their all, and never let up. Not for a second. It’s kind of strange actually, because yes, even though I have seen Martin Freeman, Paddy Considine, and Eddie Marsan all be funny and light with some of their roles, I’ve never quite seem them as much in a full-on comedy-mode as they are on in here, and it allowed me to see them in a different light where they can do this funny stuff, but also allow for us to take them in as actual characters as well. Not just a bunch of goofballs, but people, and I think that’s a smart decision on Wright’s part on casting these highly-acclaimed, “serious” British actors. Or at least just Marsan and Considine; Freeman’s more of a clown than those two.
And don’t be fooled either, just because Rosamund Pike is the only gal of the group, doesn’t mean that she goes down without a fight. In fact, just the opposite. Not only is she as knowing of the humor as the dudes are, she also shows that she can mess-around with the best of them, and even get her hands a bit dirty if need be. She’s funny, very sexy, and also, very fiery, and reminds me of the type of chick I wouldn’t dare to mess with. Also, I highly doubt it needs to be said, but I’ll go for it anyway, just be on the lookout for everybody in this cast, because they’re all familiar-faces you’ve seen before and will surprise the hell out of you here, as they are all having a great time, and allowing you to enjoy the whole movie even more than before.
Consensus: The World’s End, or as others will know it as “the inevitable finale to The Three Flavours Cornetto Trilogy”, may not be as polished as the two prior installments, but is still full of the same madcap hilarity, fun, excitement, action, and typical glee that we have come to love with these movies, while also offering us some real heart and emotion to the proceedings as well.
8.5 / 10 = Matinee!!