Allow me to gush, for a moment, about my favorite director, the incredible Edgar Wright, because with THE WORLD’S END he has knocked it out of the park yet again.
Each of Wright’s films are exceptional balance of humor, drama, and balls-to-the-wall-action, but what I appreciate most about him, is how he continually refines his style and challenges himself as an artist. THE WORLD’S END is not as riotous or as parodiferic (*TM) as SHAUN OF THE DEAD, HOT FUZZ, or SCOTT PILGRIM, but it does mark a dramatic shift for the director, as he delves, much more somberly than usual, into some pretty deep territory.
THE WORLD’S END is about finding balance as an adult. It’s as much about the importance of growing up as it is the importance of never losing our inner child. While the movie’s screenplay isn’t honed as razor sharp as some of Edgar Wright and Simon Pegg’s earlier efforts, it does manage to find a new sort of balance itself. As the artists have evolved, so has their work.
The film’s performances are great, with many of Wright’s troupe returning. Nick Frost, ever Pegg’s goofy second, shines tremendously here… for the first time playing not only the straight man (with some real emotional depth) but also a colossal badass!
Someday the Cornetto Trilogy will be required viewing for film students, not only because of how accurately its chapters convey the greatest of Hollywood tropes but also because of how expertly they weave meaningful human drama into the subtext. Do yourself a favor and check out THE WORLD’S END.