The World’s End review

The World’s End (15/R, 109 mins)
Director: Edgar Wright
★ ★ ★ ★ ☆

The movie-making team of Simon Pegg and Edgar Wright has been one of the biggest success stories of British cinema of the past decade.

With Shaun of the Dead and then Hot Fuzz they showed that home grown products can be original, imaginative, entertaining and, significantly, capable of drawing a sizeable and appreciative audience.

Now they're back with the long-awaited third of what’s become unofficially known as the Cornetto trilogy, with Pegg once again co-writing with director Wright for what could be described as a bit of a blend of Shaun and Fuzz, combing the first’s monster-bashing with the latter’s sinister small town setting.

Pegg returns alongside his co-star Nick Frost and joining them are Martin Freeman, Paddy Considine and Eddie Marsan, completing the group of five friends whom we first meet as youngsters in the early 90s. Living in a sleepy small town, they're a rowdy but likeable group who set out to tackle the Golden Mile, a challenge to drink a pint in every one of the dozen pubs in town, from The First Post to The World’s End.

They never made it round all 12 but now, over 20 years on, Gary King (Pegg) is determined to recreate their crawl. But the rest have moved on, becoming respectable businessmen and family men. With little else going on in his life, Gary drags them back to their old stomping ground to try to relive their youths.

That would be enough for a lot of films, but Pegg and Wright are more ambitious than that. So on top of that setup, the lads quickly discover the town seems to now be mostly populated by aliens, or robots, or robotic aliens, in some Invasion of the Bodysnatchers style takeover.

The result is one of the year’s best comedies, hitting the mark in the early stages through the other guys’ reluctance to take part in Gary scheme, then later when they're facing down their enemies. But it’s also able to hit some strong dramatic and emotional beats. Fittingly, since we’re now dealing with guys who’ve left 40 behind, it’s even more thematically mature than the first two films, tackling aging and regrets, old memories and wounds, as lessons are learned and growth achieved.

Yet it’s still impressive that Frost and Pegg have kept their characters fresh from film to film, Pegg going from layabout Shaun to Fuzz’s hotshot cop to near-destitute alcoholic here. Frost has gone from an even bigger layabout in Shaun to a dim but sweet sidekick to a suited businessman, albeit one with a few smackdowns in his arsenal.

If there’s one level on which The World’s End doesn’t quite hit the bullseye it’s aiming for, it’s in the character of Gary. Set up in the beginning as someone who’s meant to grate, he’s positioned for a clear journey to reformed hero, which is fine but never quite impacts in just the way intended.

But we’re mostly on board for laughs, and this is a film that never forgets how to be funny for a second. Physical gags are brilliantly timed, humour is drawn from the characters, and every actor shines, although Pegg does bag himself many of the top lines.

It also manages to be an exciting sci-fi horror at the same time, while throwing in raucously choreographed brawls, even if everyone suddenly seems to have the fighting skills of Jackie Chan.

In the end, the second apocalypse comedy of the summer is not quite the perfect send-off the trilogy merited, but it’s a pretty close run thing. Pegg and Wright represent all that’s good about British genre filmmaking, and when it comes to collaborations between them, it would be a shame if this is the end.

Paul review

Paul (15, 104 mins)
Director: Greg Mottola
★ ★ ★ ☆ ☆

Simon Pegg and Nick Frost are Graeme and Clive, a pair of geeks on holiday in the States on a sci-fi tour of the southwest, where they plan to take in Area 51, Roswell and the rest.

But driving through the desert one night, they come across a runaway alien who goes by the name of Paul (computer generated and voiced by Seth Rogen). They go on the run with him, picking up Ruth (Kristen Wiig) on the way, with the government giving chase as well as Ruth’s father and a pair of rednecks.

Beyond that setup, there’s no real plot to speak of, simply a collection of daft set pieces. So it’s just as well that most of what we do get is so entertaining, with some very funny individual lines and moments.

With the vibe of Pegg and Frost’s Spaced, it’s a nicely British take on what’s usually a very American genre, though is it possible the pair are getting just a little long in the tooth to still be playing these guys? It’s their first movie together without Edgar Wright at the helm, and Frost and Pegg also collaborate on a screenplay for the first time.

It’s possible that Wright could have brought a little more pizzazz to proceedings, just as he did with his own recent Anglo-American effort, Scott Pilgrim. He may also have brought a little more polish to a script that’s funny but ultimately rather aimless, one that’s maybe a bit too quick to go for a swear instead of something clever.

Elsewhere, it’s positively bursting with movie references, with practically everything Steven Spielberg has made getting a nod. Apparently Paul has spent much of his time on earth giving sci-fi writers ideas, and one of the best gags sees him on the phone to Spielberg giving him the plot to ET.

There can be no getting away from the fact that Paul is pretty much a one joke movie, the joke being that there’s a smoking, swearing alien with the voice of Seth Rogen. The incongruity of Rogen’s booming tones coming from an archetypal little green man, and his way with words, generates frequent big laughs. If that’s not quite sufficient to hang an entire film on, it’s still enough to provide two hours of undemanding fun. Great title too.

Scott Pilgrim vs. the World review

Scott Pilgrim vs. the World (12A, 112 mins)
Director: Edgar Wright

★ ★ ★ ★ ☆

A couple of questions are raised going into Scott Pilgrim Vs the World which, as with almost every other film these days, is based on a graphic novel.

The first is whether director Edgar Wright can parlay the success he found with Shaun of the Dead and Hot Fuzz into his first shot a proper Hollywood feature. That’s not to say that he’s necessarily taking a step up here, because anyone familiar with his zom-rom-com and cop spoof will know they're two of the very best films of the last decade, British or otherwise. But it is the first time he’s made a film with a fairly substantial chunk of purely American money, and Hollywood will be watching to see if he can pull it off.

There’s also the question of whether the film’s star, Michael Cera, can finally shake off his Juno/Superbad likeable nerd persona and deliver a sufficiently different and truly interesting character and performance.

Cera plays the titular Scott Pilgrim, who at 22 is something of a slacker, in a band and dating a high school girl called Knives Chau. But when he sees new girl in town Ramona Flowers (Mary Elizabeth Winstead) at a party he falls for her hard.

What takes this to a level beyond that of the standard teen rom-com is that, in order to date Ramona, Scott must defeat her seven evil ex-boyfriends. That’s evil as in they want to kill him, and defeat as in fight to the death.

It all takes part in a world that, though more or less real, is part comic book and part video game. With its quirky scene transitions and on-screen graphics and text, it could easily tip over into arch and irritating but Wright quickly establishes the world and sets the rules for what is to follow, and there shouldn’t have been a moment’s doubt that he could handle it expertly.

And what does follow is every bit as insane as the premise suggests. Everyone appears to have superpowers, so the characters can soar through the air as they battle, and withstand atomic blows in the process. It ends up playing like a much funnier and far less bloody Kill Bill, with each of the fights offering something different, more original or more comical than the last as Scott ploughs his way through the hordes to face the final showdown with Gideon (Jason Schwartzman).

As for Cera, it’s not a complete departure but it’s a step in the right direction, playing a character who’s still reasonably sweet but also self-obsessed and a bit dim. Taking part in numerous fights scenes obviously helps Scott stand out from the usual Cera shtick, and he even gets to display an unseen darker side while still remaining funny.

Of the seven evil exes, Chris Evans and Brandon Routh make the biggest impacts, the former as a smug actor, while Routh (who played Superman in Superman Returns) provides big laughs as a psychic vegan.

Scott Pilgrim vs. the World is bouncy, demented and packed with so many fun characters and moments that it becomes difficult to pick a highlight. It’s one of the most fresh and inventive action comedies of the last few years, and one that can proudly position itself beside Kick-Ass in terms of sheer entertainment value.