The World's End

Is the third cornet full of flavour?

                                       The Marauder's Map for alcoholics wasn't as popular

DIRECTOR: Edgar Wright

CAST: Thomson and Thomson, "ANDY!!!!", Bilbo Baggins, Inspector Lestrade, Miranda Frost, and a whole lot of other British cameos that I won't give away!

PLOT: The third and final edition to the Cornetto trilogy, and this time Wright, Pegg, Frost and co. are trying to complete an epic 12-pint pub crawl in the shitty 'little England' town of Newton Haven. Oh yeah, and they also get attacked by alien controlled robots posing as townsfolk...

There's just something brilliant about this trilogy of films. Both Shaun of the Dead and Hot Fuzz have the tendency to glue a stupid grin to your face throughout their entirety, as you witness a zombie getting hit with pool cues to the music of Queen, pensioners unloading shotguns in protest to human statues, and Simon Pegg struggling to hop fences. And despite The World's End not being quite as funny as its predecessors, it still manages to stick a big stupid grin on your face that will last long after the closing credits have finished rolling. It may be the least shiniest piece of gold, the least flavoursome ice cream, but it's still golden ice cream nonetheless.

Even though that this film doesn't quite hit the deluded comedic delights of zombies and murderous villagers, that's not to say that it isn't funny (it's easily the best comedy of the year so far). The sight gags aren't as frequent as what we have previously been used to, but this will be quoted by fans everywhere, with some fantastic lines cocnerning the likes of Legoland and Alexandre Dumas. 

But what is probably the most striking thing about the quintessentially British end of the world is the action sequences that Edgar Wright manages to impeccably craft. It shouldn't come as a surprise that Wright can shoot action, especially after Scott Pilgrim, but it will always be a surprise when some of the best action that you have seen in the cinema all year comes from a film that is advertised as a comedy. The fights often take place in a very few amount of shots (often in just the one), zigzagging about the pubs as Pegg tries to down a pint whilst being splattered with blue ink from the menacing robots. Who knew that Nick Frost beating the shit out of people with bar stools could be exciting enough to increase the heart rate and move your arse to the edge of your seat? 

                     Pretty much my face when I heard Batman will be appearing in a film with Superman

One of the ways that this series of films has proven to be so popular is how they all share a lot of themes and styles, such as growing up, having regrets, tolerating imperfections, etc. but still manage to feel fresh and new. The World's End is equipped with an awesome soundtrack, chock-a-block with pop culture references, lovably flawed characters and crazy action sequences. 

However, one of the most noticeable differences is the change of character types. We are used to seeing Nick Frost as the man-child liability and Simon Pegg as the reliable man-with-a-plan. These two roles are given a straight switch, and both actors show off their skills by proving that they can do either almost as well as the other. This time most of the laughs come from Pegg's Gary King, a man who is stuck in the past and failed to grow up, but who is also given his fair chunk of surprisingly uncomfortable backstory that elevates the drama - something that we know Pegg can do just as well as make you laugh. Pegg grabs the opportunity to let loose with both hands and gives it all that he's got, making a character who would be unlikable in lesser hands lovable, with impeccable comic timing and unwavering enthusiasm.

The supporting cast also pulls their weight, which is exactly what is to be expected considering the strength that they possess. Martin Freeman's property dealing tool is a specific joy; but away from the main supporters, the film is also crowded with an abundance of British faces that you will be able to recognise and even remember their filmography's, but most probably not be able to remember their names. 

Apart from perhaps the final showdown towards the climax of the film, which is a slightly convoluted and long-winded explanation as to why all of the strange occurrences have happened, making you wish for an ironic take on evil plans which would be akin to the villains intentions in Hot Fuzz, there are few faults to find here. Everyone involved have clearly had an insane amount of fun making this and it will transfer straight to the viewer. Here's hoping we will see the prodigal sons - Edgar Wright, Simon Pegg and Nick Frost - assault genre cinema at least one more time.

* * * * ½