Honestly, you wait ages for a male-bonding apocalypse comedy, and then two come along at once, like computer-animated ant fables, Truman Capote biopics or volcano-based disaster movies. Except Seth Rogen and Evan Goldberg’s This Is The End wasn’t the end of the world. The World’s End is.
I’ve been so looking forward to sharing my thoughts about the third and final part in Simon Pegg, Nick Frost and Edgar Wright’s audacious Three Flavours Cornetto trilogy – completing the set with Shaun Of The Dead and Hot Fuzz – ever since I saw the first 45 minutes of it, at an exclusive preview in mid-May. (We signed a press embargo when we saw the whole thing last Wednesday, but this apparently lifted last night when Variety went live, and all the other reviews crashed in behind them.)
Because the film’s release date was “pulled forward”, to use the impenetrable industry jargon, by a month, there has been a certain amount of frenzied activity behind the scenes at The World’s End as it was readied for public consumption, which is why selected journalists with long lead-times were treated to the weirdest screening ever: the first half of a film. (It was even introduced by Edgar.) In it, Pegg’s boorish Gary, the hedonistic goth who refused to grow up and is first seen in rehab, gets the old gang back together to stage a second attempt, 20 years on, at their old hometown’s “Golden Mile” 12-hostelry pub crawl. (The town is Newton Haven, played by two “garden cities”, Letchworth and Welwyn, which join Crouch End and Wells in Somerset on the Cornetto map.)
The gang – who have all inconveniently grown up in the interim and view the developmentally arrested Gary as something of a necessary irritant – are played by regulars Nick Frost, Martin Freeman, Paddy Considine and Eddie Marsan, and a finer bunch of British avengers you could not hope to assemble. (Rafe Spall and Julia Deakin also have small parts, which means they have been in all three films, along with Pegg, Frost and Freeman.) In those first 45 minutes, we get a keenly observed and deeply self-critical portrait of misspent adulthood, which does Pegg, Frost and Wright – all essentially huddled around the big four-oh – proud.
Wright is still haunted by a crawl he never completed in his youth, and his own nostalgia and self-examination seem to fuel the story – as well as provide the soundtrack of iconic early-90s indie-dance-crossover tunes that are not heard in films as often as, say, 60s beat hits, or mid-90s Britpop. (When the lads groove to the Soup Dragons’ I’m Free in Gary’s car, it’s all good, clean, I ♥ The 90s fun until he reveals that not only is this the same compilation cassette from 20 years ago, it’s also the same car. For this, he is regarded as comically tragic by the others. But who doesn’t cling to simpler times?)
When I interviewed the trio last Tuesday in Claridge’s I still hadn’t seen the second half of the film we were there to discuss. This would ordinarily be intolerable – the height of film studio arrogance and cheek. But hey, it really was not quite finished yet. We all saw it on Wednesday. For those of us who’d seen the first 45 minutes – which ended with the first clue that all was not of this earth in Newton Haven – it was odd to see the run-up again, but, like all of their best work, it’s worth repeating, and in fact matures.
It’s a terrific film, confident, silly, warm and surprising, and a worthy finale to an insane, parochial cinematic adventure. Don’t worry: I won’t tell you anything key about the plot, or where the third Cornetto comes in, or reveal a couple of well-kept casting secrets, as it’s not out until next week. Pegg, Frost and Wright were being extra careful last Tuesday, mouthing names to each other, and playing a guessing game about an extra audio detail Wright had inserted into the final sound mix. When you set this much store by details, metatextuality, in-jokes, paybacks and cross-references, it’s important to handle them with care. The title – and the trailer – are pretty explicit about the apocalyptic end-point, but not the getting there, other than it involves hand to hand combat, at one juncture with pub stools for weapons. It also gives away a sight gag that refers back to Shaun and Hot Fuzz, although knowing about it does not subtract from the glee of seeing it.
My admiration for the work Pegg, Frost and Wright do as a fighting unit – and although Wright is very definitely the director, and Pegg and Wright credited with the script, it’s clear Frost is closely consulted throughout – is very high. To adapt the fanboy fun of Spaced to work across a broad canvas, not to mention sell it to the Americans, has been one of the more heartwarming successes of British cinema in the 21st century. (The support they’ve had from Working Title and Universal, as well as Big Talk, is key, too, but these guys are the ones with the ideas and the pre-midlife crises to draw on.)
This geek ending is final in every sense. It’s bigger and costlier than the previous two films, but as good rather than better. To have kept their end up, to the end, is reward enough. I always enjoy seeing Pegg and Frost in other stuff, and Wright will easily adapt to a Hollywood career if he wishes it, but there’s nothing to beat the three of them in a room together, and you have to hope they’ll reunite through a cosmic need to do so, rather than a financial imperative.
Having met the clubbable Pegg and Frost during press for Hot Fuzz, and struck a surprising seam of mutual admiration with Pegg (ie. he’d read my books, which had been given to him by a mutual Northampton-based friend, Tony Kirkland, with whom I co-starred in a Weston Favell Upper School production of Macbeth in 1983), I was lucky enough to reflect in the collective glory of the whole Spaced gang at a BFI reunion day in November 2007, where I first met Edgar and crossed that Rubicon where we might actually say hello in the street. They’ve all been kind to me ever since whenever our paths have crossed, and Simon gave me a cover quote for my non-selling third memoir, which I still treasure: “Fucking hilarious.” As is often the case when you meet cool people professionally, you start out as a fan, gain their trust, and became something slightly less needy. (But remain a fan.) Here’s me unable to hide my enjoyment onstage at NFT1.
I’ve read all the reviews that went up last night. Most critics have been impressed by the scale; which is to say, the bigness of the sci-fi half, but also the intimacy of the first, without which the second half would just be big. Even when things are credibly sci-fi, they remain just as credibly real, thanks to the chemistry of Pegg and Frost first and foremost, but among the other cast, too. One or two have said it’s too long at 109 minutes, but I found that even when the big stuff hits a plateau of destruction, it’s always cleverly undercut by the matey and often foul-mouthed dialogue. That comes from practice, I’d say. I could watch it again now, and that would mean seeing the first 45 minutes for the third time.
The World’s End is released next Friday, July 19, and if you are fond of the other two films and the sitcom from whence they came, you’ll be first through the doors, and you won’t want to leave at last orders. This Is The End is still on general release. Let’s Boo-Boo.
I suspect the sight gag to which you refer appears in the trailer. If so, it’s a waste. It would have been good to see it “fresh” in the cinema. I guess hurdling is for the younger man, though, and time has knocked him down a Pegg or two.
I wish I found Pegg, Frost and Wright as amusing as everyone else seems to. I’ve sat through most of the stuff they’ve done from Shaun onwards, but from the lack of entertainment they’ve given me I’m obviously missing something fundamental.