Fans of cult film director Edgar Wright have been patiently waiting for the finale of what the moviemaker describes as his Cornetto trilogy. For those who aren’t aware of his other reference-heavy comedic installments, “Shaun of the Dead” riffed on zombie flicks, while “Hot Fuzz” poked fun at action cinema of the 80’s. “The World’s End” seems partly inspired by 50’s and 60’s science fiction titles like “Invasion of the Body Snatchers” and the British “Quatermass” features. However, it isn’t full of the same kinds of references and satire. It’s another hilarious comedy, but also one that is more character based, digs deeper emotionally and is even bittersweet.
Gary (Simon Pegg) is a self-destructive man in rehab whose life has seemingly run off the rails since entering adulthood. Desperate to recapture the glory days of his youth that have long since faded away, he selfishly manipulates and coerces his boyhood friends (Nick Frost, Martin Freeman, Paddy Considine and Eddie Marsan) into completing a 12 location pub crawl. Things go awry when the residents of their home town begin acting strangely, and are eventually revealed as robots from another world bent on taking over the planet. Interestingly, the alien plot could also serve as a solution to many of the lead character’s problems.
The cast are phenomenal, milking big laughs out of dryly barbed, rapid-fire dialogue. Cinematographer Bill Pope gives the townsfolk a menacing appearance, as they spout LED-like lights out of their eyes and mouths. And the gang’s fight scenes with these machines are amusing as well, milking every sight gag possible, including popping off limbs that have been attached like an action figure. However, the action bits do run their course fairly quickly and begin to become a little repetitive as the film nears its final act.
That’s why the dramatic touches come as a most welcome surprise. Afraid of being replaced, Gary’s pals move forward with their pub crawl in order not to arouse suspicion. However, they become tipsy in the process. Not only does it embolden them in dealing with the robots (resulting in plenty of laughs), but it allows them the opportunity to confront Gary and express their own regrets and fears in a few serious moments. Tonally, it’s extremely difficult to effectively switch from sight gags and robot jokes to a serious conversion about alcohol abuse; Wright’s assured direction manages to pull it off.
Regardless, the film never becomes overly ponderous. It is a comedy and a funny one at that, loaded with plenty of nostalgia-inducing tunes for anyone who remembers 90’s Britpop. “The World’s End” may not have the same visceral kick as his previous films, but it is enjoyable and unexpectedly thoughtful. As a far of all of Wright’s previous features, it’s difficult to determine exactly where this film would rank, but one thing is certain. It is a worthy entry and fitting close to an extremely entertaining group of films.