While each film contains generic elements borrowed from every category of film you could think of, each also more or less reproduces one traditional story arc albeit with hilarious embellishments.
This review discusses the entire film, and as such contains many spoilers.
Part of the problem is that I went in with wrong expectations. Consider the opening narration, in which Gary King triumphantly recounts a twelve-tavern pub crawl that he and his mates attempted in Although they conked out nine pubs in, King proudly pronounces the night the greatest of his life.
From there we cut to an unflattering shot of him seated in sweats in a rehabilitation center, decrepit, gaunt, and totally spent.
As others continue speaking, King zones out, lost in his memories. King begins the film a tragic character, his many flaws all apparent.
Only he recalls the past as glorious. Everyone else is glad to have left it behind, and now thinks him mad—a loser unable to function in the world of This is going to be a film about learning to mature.
What happens if we take Gary King seriously? Viewed one way, King is a drunken fool, unable to escape the past and desperate to get sloshed. But viewed differently, he is a king summoning his once-loyal retainers to join him on a new quest, a return to the taverns of old, where they will reclaim their past glories.
Understanding this doubleness is essential to reading the film properly. In Shaun of the Dead, Shaun ultimately shapes up, takes responsibility for his life and wins back his girlfriend, Liz.
In Hot Fuzz, Nicholas Angel learns how to relax, makes a new best friend, and comes to appreciate his reassignment away from London.
If anything, he remains resolutely maverick the entire film, as society changes around him. What prevents our reading the film as a medieval tale, however, is how easy it is to dismiss King as a serious character. But what if, at the same time, King is something more than that?
King—aided in part by drinking—sees a different world than everyone else does. Leave a light on, good lady, for though we may return with a twinkle in our eyes, we will in truth be blind—drunk!
Unless I misheard him, he even refers to the year as such at one point. Interplay between metaphorical and literal meanings are a central concern of the film.
The title alone means at least three things: Has the King decreed it? Everything that King says there describes not only what happened inbut predicts everything that will happen in During the first crawl, when the gang got to the smokehouse, they smoked pot, after which everyone grew paranoid.
The three surviving companions finally reach the hill overlooking Newton Haven to witness a new sunrise. This is a movie much concerned with how words and expressions achieve new meanings.
You know, from Mr. What was it called? And then, it was: And then, it was just: Accordingly, we would do well to pay close attention to all signs, spoken and visual. The figures, for instance, in the school disco poster glimpsed here and there in the background and foreground have glowing blue eyes.
Meanwhile, the pubs all of which have signs predict what will happen at each one: The film trades constantly in polysemyespecially by means of punning which is another reason why it requires multiple viewings. And as the Suede song continues, Brett Anderson implores: Once again, the language is predictive.
Nor do we, on a first viewing. Along similar lines, words and phrases and jokes keep recurring throughout the film, constantly shifting meaning.The World’s End is indeed a soberer film than its predecessors.
This isn’t a problem, though, because the film, while comedic, isn’t ultimately a comedy. This isn’t a problem, though, because the film, while comedic, isn’t ultimately a comedy.
Gary King is an alcoholic and a drug addict, and the movie rebukes us for making a hero out of him. We’re conditioned to cheer for the lead who breaks things and . The World's End (analysis) The World's End () is the final installment in Edgar Wright's Cornetto Trilogy, a series of parodic genre films.
While each film contains generic elements borrowed from every category of film you could think of, each also more or less reproduces one traditional story arc (albeit with hilarious embellishments).
The World's End is a comic science fiction film directed by Edgar Wright, written by Wright and Simon Pegg, and starring Pegg, Nick Frost, Paddy Considine, . In The World's End, Nick Frost's character Andy notices this wristband that Gary King was wearing. I suppose that it's connected to the Alcoholics Anonymous-like support group meeting towards the beginning of the movie.
Stout Strength: Despite being relatively short and more chubby than the others, Andy is easily the most badass character in the film.
Straight Man: Gary is more zany and stupid, whereas Andy's more down to earth and deadpan. The Teetotaler: Although, as the crazy in Newton Haven piles up, he breaks his year-long non-drinking streak.