The World’s End (2013) – Review

Review: The World’s End is a very entertaining and funny action-comedy. The film is about five friends, led by Gary King, who return to their hometown of Newton Haven to try and complete an epic pub crawl that eluded them twenty years earlier. However, as they make their way from bar to bar, they start to notice that there is something off about the town’s people.

The film completes writer-director Edgar Wright and co-writer Simon Pegg’s Three Flavors Cornetto trilogy. Like Shaun of the Dead and Hot Fuzz, The World’s End succeeds chiefly as a comedy. Wright and his cast have good command of both physical and verbal jokes. To some extent, the film’s physical comedy and stylistic aspects play a bit like a cartoon – but given the heightened sense of fun that the film’s prologue and tone create, this cartoony feel works very well. And, it also opens the narrative up to go in ridiculous directions (which it does).

The action in the film works as well. It is entertaining and holds the attention of the audience, but it is also subservient to the comedy. Everything about the staging and follow through suggests that the fight scenes are being played for comedic effect. Yet, what is interesting (and consistent with Wright’s other films in the trilogy) is that the stakes in this film are much graver than typical action comedies. The character’s lives are actually at risk here. But, at the same time, what could be used for great dramatic tension and emotionally compelling scenes falls a bit flat because the film has already fully committed to being silly. Thus, to some degree, dramatically, the film works against itself a bit. The tone remains that of an exaggerated comedy and never fully shifts into that of a more gripping action thriller type film (that is still funny – an example is the Wright produced horror comedy Attack the Block; it is a horror thriller with palpable stakes that is also really funny).

The strongest aspect of the film is probably its characters (particularly Gary King and Andy Knightley) and their comedic portrayals. As funny and entertaining as the film is what makes it great is its characters. They pull the audience into the story. Regardless of where the story takes the audience, the characters still ground the narrative because the audience wants to see them finish the pub crawl and survive. It is somewhat surprising that Wright could get an audience to care about a group of men finishing a pub crawl on more than a superficial level, but that is the brilliance of his script, the characters, and performances. Gary is an antihero, and not really likable, but his charisma is infective and his drive to find something of meaning in his life is something the audience can really grab onto and get behind.

While the film is structured very well and the pacing moves briskly, the third act of the film sort of putters out, holding the film back. The first two acts build all this great anticipation and tension leading up to what seems like an epic conclusion, but instead Wright undercuts all that with a reversal of expectations. It does work well in terms of comedy and does make sense on a character level, but dramatically is causes the film to stall and feel incomplete and maybe even unsatisfying on some level. It is a brave choice, from a storytelling perspective (and sort of reminds me of A Hitchhiker’s Guide to the Galaxy), and maybe it works better upon multiple viewings, but that said the loss of all the dramatic tension and anticipation almost derails the film because the audience feels let down as nothing pays off emotionally. However, Wright does temper this somewhat by including a final action/chase sequence to end the film on an emotional high note (leading into the epilogue).

Much like Wright’s other films, small flaws hold The World’s End back a bit, but it is still a great comedy. One that is well worth seeing both for fans of Wright’s work and those who enjoy fun action comedies.

Technical, aesthetic & acting achievements: Edgar Wright has a wonderful cult following, as his films have an auteur-like pop style and are soaked through with cinematic, comic book, and popular culture references. It is a shame really that his films have never really found a mainstream audience. With The World’s End, I think Wright and Pegg have created maybe their most compelling lead character in Gary King. He is hysterically funny and incredibly charming (but more because he is on the verge of complete catastrophe and the audience cannot look away than in the classical sense of the word). In terms of The World’s End place in Wright’s filmography. Personally, it is my second favorite of his films behind Shaun of the Dead (and just ahead of Scott Pilgrim vs. the World). I am looking forward to seeing what Wright does with Ant Man (there is a rumor that Pegg might play Hank Pym).

Composer Steven Price’s score and cinematographer Bill Pope’s strong photography give the film a great action vibe, while production designer Marcus Rowland’s design plays more towards the comedic aspects of the film, as there are a number of fun sight gags. Price’s score musically elevates the expectations and anticipation of the audience by feeling like a score that would normally accompany a big action film. Pope is one of the best action genre D.P.s working in cinema right now. His work seems to add an extra level of excitement to the action set pieces, which the film greatly benefits from. Rowland’s design work is subtle at first, and Newton Haven looks like a typical boring English small town, but he sneaks in jokes here and there that really work well. Plus, the design of each pub and its masthead is fantastic.

The entire cast gives great comedic performances. Pierce Brosnan and David Bradley each provide funny moments in their small supporting roles. Rosamund Pike plays Sam, the romantic interest of two of the friends and the sister of another. She has great chemistry with Simon Pegg and their scenes are fantastic (something to remember for Ant Man maybe… hopefully). She has good comedic timing and plays off the ridiculousness of the narrative well. Eddie Marsan plays Peter, the dope of the group. He has some great moments, which he takes full comedic advantage of. Martin Freeman plays Oliver, a lightweight when it comes to drinking and Sam’s brother. Freeman really does good work when his personality suddenly changes. Paddy Considine plays Steven, a man who seems to always be second fiddle to Gary. He is at his best when he overplays the dramatic ups and downs of the night. Nick Frost plays Andy, Gary’s former best friend and heavy drinker who has reformed. Frost very nearly steals the film (and for some probably does). He is brilliantly funny. And Pegg plays Gary, the rebel who has just become sad. Pegg revels in the character, playing him big and it works wonderfully.

Summary & score: The World’s End is a fitting end to the Three Flavors Cornetto trilogy, as it encompasses the same style and tone as the other films, managing to be very funny with engaging action scenes. 8/10

TV Series of the Month – Spaced

This month’s TV Series: Spaced (1999-2001).

The comedy series is about two slackers Tim and Daisy who must pretend to be a couple so that they can live in the only flat they can afford in North London.

The sitcom was created (and written by) Jessica Stevenson and Simon Pegg, while Edgar Wright directed every episode. It is the first great collaboration between Wright, Pegg and Nick Frost. They have also made Shaun of the Dead, Hot Fuzz, and the upcoming The World’s End together.

In addition to Pegg, Stevenson, and Frost, Julia Deakin, Mark Heap, and Katy Carmichael star making up a fantastic comedic cast.

Spaced is only two seasons (fourteen episodes) but is one of the highest rated a most loved comedy series of all time. It seems to follow in the footsteps of The Young Ones and Bottom, and paved the way for shows like The Mighty Boosh and The IT Crowd. The show seems perfectly targeted at the generations that grew up in the 1970s, 80s, and 90s with comics, Star Wars, Star Trek, Indiana Jones, and other great sci-fi and adventure films, grunge/rock music, and an awareness of pop culture. It is a must-see for fans of Wright, Pegg, Frost, and Stevenson.

Trailer: Here

Available on: DVD

The Adventures of Tintin (2011) – Review

Review: The Adventures of Tintin is visually astounding but the narrative and characters are not done quite as well. The film finds Tintin, a famous journalist, thrust into a new mystery when he buys an antique ship model at a swap meet leading to a man killed at his door and his apartment ransacked. He engages on a grand adventure with Haddock, a drunken ship captain, to uncover the secret of the ship. Director Steven Spielberg has set up The Adventures of Tintin to play a bit like a mix of Indiana Jones and Pirates of the Caribbean tonally. The film looks and feels a lot like an Indiana Jones film, and the score sort of harkens back as well (same composer). The silliness of the characters also feels a bit like Indiana Jones, but more like Pirates of the Caribbean. Visually, the film is quite an achievement. This could have easily been a live-action film, but as is the action set pieces are a bit too much and the camera moves freely – both of which would be harder to accomplish outside animation. The performances Spielberg captured however are fantastic, especially in terms of getting very expressive faces and (most importantly) eyes.  The opening title sequence (which is reminiscent of Catch Me If You Can, at least it was for me) is brilliant (and my favorite part of the film), as are the many unique and interesting transitions. The narrative has a lot of action, especially in the second half. Spielberg does a good job of keeping the narrative moving forward (important for a film aimed at children especially). It seems common in animation, there being no limitations, for the action scenes to get out of hand. This happens somewhat on this film, but Spielberg still reels them in enough and gives them each their own mini-narrative to keep them engaging (not letting them creep into crazy mindless territory). The chase through the coastal town in Morocco is probably the most compelling. The real issue, however, and to an extent the main thing keeping this from being a better film, despite it being a great visual achievement, is the characters. Both Tintin and Haddock, who occupy almost all the screen time, are annoying and sort of bog the film down. Tintin incessantly spells every minor detail out, even when the audience is already told the information visually. While it is a staple of the genre to a degree, it is overused greatly here with Tintin. Haddock, on the other hand, is portrayed too much as a fool. Every breath he takes and action he does seems to impede the progress of the story. The character is just too much (like the saying: less is more). The third biggest character in the film is the villain Sakharine, and he is grievously underwritten, leaving him feeling like a rejected Indiana Jones villain. At least with Haddock and Tintin, the characters are written well enough and given enough character moments for the audience to connect with them. Sakharine is a throwaway character – not really what you want from your principal villain, let alone one that plays heavily into the story. The Adventures of Tintin is entertaining and will appeal to fans of the books, but with aspects that are so well-done it is too bad that the film has large issues that hinder it from being great.

Technical, aesthetic & acting achievements: Steven Spielberg having made the Indiana Jones films is a great choice to direct this story, his first animated feature. It is one of the most aesthetically interesting animated films I have seen (especially on a grand scale), and sets the bar very high for future animated features. Visually, it seems as if Spielberg approached the film as if he were shooting a grand live-action epic. Producer Peter Jackson also brings skill in creating fantastic visual epics (also working on his first animated feature). Writers Edgar Wright and Joe Cornish, however, may have inserted too much silliness, when the tone should have been less like Pirates of the Caribbean and more like Indiana Jones. Composer John Williams delivers a score that fits the film well (but not among his best work, and not anywhere near as good as his War Horse score). The performance capturing technology at Weta Workshop is fantastic, giving the actors almost complete control over how their animated counterparts are seen onscreen. Simon Pegg and Nick Frost are funny as Thompson and Thomson. Daniel Craig is not really given much to do, but is good with what he has. Andy Serkis (regardless of how I feel about Haddock in relation to the narrative) gives a fun full-bodied performance (and is rightly considered the best motion-capture actor). Jamie Bell is good as Tintin, playing seemingly the only none comedic or villainous character in the film.

Summary & score: One of the best visual films of the year (animated or live-action), The Adventures of Tintin does not quite live up to its visuals in terms of its characters. 6/10

Paul (2011) – Review

Paul is a funny and sci-fi nostalgia filled comedy. Structured as a road-comedy/buddy-comedy, the film works as a tale of friendship and growth along the journey. The nostalgic aspect is focused on popular science fiction (mostly from film and TV) – things like Star Wars, Star Trek (I love the reenactment of the worst fight in TV history), Close Encounters of the Third Kind, E.T., and many others (especially Steve Spielberg films, and his voice makes a cameo). These references work to be both funny and enjoyable for those that know them. However, this may also be an issue for viewers without a strong knowledge of popular sci-fi, as a ton of jokes will not work for them (or not even play as jokes or references). But, this is a film not made for those viewers – this is clearly made for sci-fi fans who will get all the references and jokes. Thus, the film does have a somewhat limited appeal, though there are also lots of jokes and comedy that do not require a strong knowledge of sci-fi films and TV as well, but some of the full enjoyment will be lost. There is also another pitfall that arises from the film being heavily geared towards referential jokes, (much like with the film Fanboys) its narrative seems to be structured more around these jokes than telling a good story. Director Greg Mottola is very good at telling nostalgic comedy stories that are very funny, while maintaining a strong dramatic narrative. Here, Mottola is able to bring the drama out of the story amidst the comedy, helping the audience feel more connected to the characters, which benefits the film. The issue is that the narrative is not quite tight enough, as it feels a tad slow in parts and most of the comedy is generated from outside factors and not so much from the main characters (played by Simon Pegg and Nick Frost). The supporting cast is funny, especially Ruth Bugs and Paul, but for the film to be really good, the comedy should generate from the main characters. The road trip aspect of the narrative delivers most of the comedy and excitement, while the buddy aspect, which should really generate both the crux of the drama and comedy, only delivers drama and character to the film. This would be fine if at its heart it were a coming of age or growth drama, but it is a comedy, so having most of the laughs come from references, locations and supporting characters and not the main characters (though they do have their moments) hurts the film in terms of its overall success as a comedy and cinematic experience (i.e. its ability to entertain). Paul is quite funny, with great and well integrated nostalgic references, but despite its nagging issues is still good, but not great.

Technical and acting achievements: Paul is Greg Mottola’s third feature film. He yet again shows his knack for addressing his material in such a way that resonates with the audience, both through his use of character connection to the audience and nostalgia. However, this is his weakest film to date. It is not funny enough to be a great comedy and not dramatic, moving or interesting enough to be a great dramady, so we are left with a good comedy (but really only if you like popular sci-fi and get the references). The script by Pegg and Frost is a good road trip and shows their love of science fiction, but it seems as though there is more interested in the references than the story, which does hurt the narrative. David Arnold’s score is good, playing off the nostalgia and genre the characters love. The cinematography by Lawrence Sher is mostly straight-forward, but in certain scenes is better than what comedies typically get. Production designer Jefferson Sage must have had a fun time with the sets and locations in the film (I particularly liked the choice and look of Tara Walton’s house and grounds – it reminds me of Superman coming to Earth, and maybe it is supposed to). The cast is funny overall. Joe Lo Truglio is the standout among the bit players in the film; he is really silly, in a good way. Simon Pegg and Nick Frost have tons of chemistry and go together well, but they did not generate much of the best stuff in the film. Principal supporting characters Kristen Wiig and Seth Rogen (who voices Paul) steal the show. Wiig is hilarious, while Rogen’s Paul has the charisma that focuses the audience’s attention.

Films centered around nostalgia often endear themselves to their intended audience, and Paul does that. It is funny and entertaining, but not everyone will like or get it. 7/10 

Edgar Wright – Movies Spotlight – August 2010

Edgar Wright is best known for his many collaborative projects with Simon Pegg, Nick Frost and Jessica Hynes. As a director, he is able to bring cult humor to a mainstream audience, whiles still being cool and appealing to his fans (being able to succeed without selling out). His new film Scott Pilgrim vs. the World releases wide this month, his first without Pegg and Frost, based on the comic series by Bryan Lee O’Malley. The film premiered at 2010’s San Diego Comic-Con with approval from fans and critics alike.

Early Career:

Wright graduated from Bournemouth Arts College and decided to make a spoof western for his first project – A Fistful of Fingers which ended up receiving a small release in Britain and broadcast on British TV. Despite Wright not being overly pleased with the film, it still got the attention of British TV executives leading to directing jobs on Mash and Peas, Is It Bill Bailey?, Merry-Go-Round (written by Alexei Sayle), and French and Saunders (among others), but it was his work on Asylum that would prove to be most influential on his career. It was on Asylum that he met writer-actors Pegg and Hynes. So, when it was time for them to produce their new show Spaced, they looked to Wright, who they enjoyed working with before, to direct.

Spaced/Breakthrough:

Spaced marked the breakout for the comedy team of Wright, Pegg and Frost. The show was co-written by Pegg and Hynes, but Hynes has not seen the same success internationally as the others. The show ushered in a new comedy era – what could be called cool nerdy characters paving the way for shows like How I Met Your Mother and The Big Bang Theory today. It also brought cult items and humor to more of a broad audiences (be it in the U.K., as the show is still more of a cult item in the States). The critical success of Spaced launched the film career for Wright as a director.

Film:

Wright decided to spoof George A. Romero’s Dawn of the Dead for his first feature film, calling it Shaun of the Dead, but unlike many spoof films, the characters were not caricatures of characters in Romero’s film, rather they were new fully fleshed out characters inhabiting a real world and exhibiting real emotions. Shaun of the Dead generated comedy both from poking fun at the zombie genre and self-generating jokes. The film was met with critical acclaim and love from fans of Spaced and new fans just seeing Wright’s work for the first time. The film also helped propel Pegg and Frost into successful film careers of their own. Next, Wright, Pegg and Frost made a spoof of cheesy action films called Hot Fuzz. The film was also met with acclaim from fans and critics. Wright decided to make his next film, Scott Pilgrim vs. the World, outside his comfort zone of writing with Pegg and having Pegg and Frost staring. Wright also took on the role of producer for the film, a role that he plans to continue in his future films.

Future Projects:

The success of Wright’s foray into comic-book movies landed him the job of directing Ant-Man, tentatively scheduled for a 2012 release. But first, Wright is going to direct Them, a new film written by Mike White about a woman’s journey to unmask the secret rulers of the world. Farther in the future, Wright is attached to The World’s End. Wright will co-write the film with Pegg to complete their three-flavored Cornetto Trilogy (Shaun of the Dead, Hot Fuzz and now The World’s End) as a tribute to Krzysztof Kieslowski and his Three Colors series (Blue, White and Red). The World’s End would be another spoof type film along the lines of the previous two with Pegg. He also has a film called Baby Driver in the works as part of a two-picture deal he signed with Working Title Films.

Edgar Wright Box Set (Selected Career Highlights):

1.) Spaced (1999-2001) – Director* [DVD]

2.) Shaun of the Dead (2004) – Writer/Director* [Blu-ray/DVD]

3.) Hot Fuzz (2007) – Writer/Director* [Blu-ray/DVD]

* Editor’s picks.

Pirate Radio (2009) – Review

Pirate Radio, or as it is known in the UK The Boat that Rocked, is a film more about the music and time period it is set in than the characters that populate it. This is both the strength and the weakness of the film. As a film about 1966 Britain, it excels in its montage of images across class representing the changing tide, with the music serving as the soundtrack to the transition. Kenneth Branagh’s character seems to be a caricature of what one could call the “old guard”, ridged, shown only in neat, yet dreary settings, awfully awkward, almost unable to adapt. It is a contrast that works well in endearing the culture and characters on the boat, yet the juxtaposition sometimes gets in the way of the story, trying so hard to show the opposing forces depicted against one another, the flow feels interrupted at times. However, the story is not the point, nor the characters; it is the budding attitude, with the music being at the forefront as its expression. The film then works better as a social commentary. Not to say there are not enjoyable characters and character moments, because there are, but the film is not about the growth of any character, minus the sub-plot of a young man coming of age, but that too takes a backseat to the era. The film, like its ending, while threatening to the characters directly, is more about the coming together of people and the prevailing of the music and the culture supporting it, the birth of the revolution. Richard Curtis has taken an ambitious approach to the subject, structuring it so that the era in which the film takes place is the main focus, rather than a character navigating in the era and some may not connect for this reason. But for those able to just experience the film, it is embedded throughout with perfectly placed music (which is essential, no?) and overall is a good time at the theatre. Technically, the achievement of the film goes to the fine work of production designer Mark Tildesley, who created fantastic sets and the contrast between the government types and the boat DJs, as well as the many telling shots of the listeners which were needed to really understand and get a sense for the era. The ensemble cast also was good, highlighted by the always wonderful Bill Nighy (Curtis again using him in a similar vein to Love Actually), Philip Seymour Hoffman and Rhys Ifans. Nick Frost and Rhys Darby add comic relief, as do newcomers to American audiences Chris O’Dowd and Tom Brooke. Pirate Radio is a film more about the era and the music, but both of those are entertaining, and so is the film. 7/10