3 out of 5

Directed by: Edgar Wright

As the first film of the Cornetto trilogy to actually be worked on with the trilogy in mind (since the concept sprang up as a gag post-Hot Fuzz), World’s End unfortunately comes across a bit forced: in its attempts to thematically tie the films, in its attempts to blend silly with serious (something that was so seamless in Shaun and Fuzz), and, most definingly for a Wright film, in its attempt at genre mash-up, this time bringing comedy to sci-fi.  And I think it all stems from that trilogy burden, guiding the film down more particular and sober directions, the organic and bursting-at-the-seams vibes of the director’s previous films somewhat absent even when things get a bit bananas.  Still, the hallmarks of Wright’s style are there, with the composition – packed shots, purposeful lighting, perfect editing – as precise as ever, and Pegg and Frost, both playing a bit against type, are perfect, with the other stars filling out the main troupe – Paddy Considine, Martin Freeman, Eddie Marsan – all delivering round and real performances as well.  Pegg in particular puts on a brave show as Gary King, a rather unlikeable character who is absolutely not redeemed by the story.  Something of a theme, perhaps, in Shaun and Fuzz, but here Gary is not someone with whom we can relate or want to win, but is instead that hanger-on from whom you’d rather avert your eyes.  King finds himself fantasizing of a night when he and his then-teenaged mates attempted ‘The Golden Mile’ 12-pub pub crawl in their hometown of Newton Haven.  They never made it.  That was the pinnacle of something, for King, and nearing 40, he finds himself trying to round up his friends – who are very reluctant but agree – to try the Mile once more.  This is organized with typical Wright zeal and bravado, and manages to keep you in an amused thrall regarding the themes of growing up and homogenization… when the twist hits.  Shaun had zombies, Fuzz had gore.  World’s End has science fiction, and it looks fantastic.  And yet feels a bit empty.  The fighting sequences which were marvelously bumbling in Shaun or matched the video game vibe of Scott Pilgrim feel way too choreographed here, the awesomeness of the accomplishment aside.  It doesn’t quite ‘match.’  And from thereon out, a similar disconnect arises, especially the closer we get to Pegg and Wright speaking the point of everything at us.  The movie is still very entertaining, it just doesn’t feel as rewarding as what’s come before, somewhat wearing out its welcome when it tries to over-resolve everything.  But: the professionalism shines through, and absolutely leaves me confident that the next project will be back on top, freed of any need to reign in concepts from some previous movie.

Blu-ray notes for the purchasers:

The transfer is fantastic (there’s no excuse for it to be otherwise nowadays) and I think really serves the sound and light effects in the movie well.  The features are something of a bust, though – once you’ve watched the two-part making of, it pretty much covers information you’ll hear / see everywhere else, including Pegg and Wright’s commentary, though the technical commentary (Wright and d.p. Bill Pope) has some good bits.  The out-takes aren’t as raucous as you’d expect, but the scene visualization by the stuntmen is impressive as hell, and makes me wish they’d included the lead stunt guy’s audition tape.  Signs & Omens is a good summary of what it says, though, again, you hear bits of its content elsewhere, and Wright and Pegg walk us through their flip-chart for the film, a dry extra but fascinatingly precise for a pre-planning bit.