The World’s End

The World’s End seems to be out in most countries so I’m going to write about what it meant to me. There may be SPOILERS. I’m honestly not sure which bits I’ve read about or seen in the film’s publicity, and what is in the film. Also, if you haven’t seen the film, this will make no sense at all. You’ve been warned.

So, yeah. I loved it. LOVED it. It was almost as profound an experience for me as Apollo 13: Mission Control. (That’s the immersive show that changed my life.) I think part of it is timing, part of it is storytelling, and part of it is Nick Frost’s pushkick. (It’s a thing of beauty.) I am around the same age as the characters in the film. I’ve recently been contemplating the opportunity cost of the kind of person I am. I recognised recently that I love stories with elements that are woven together and holy mother of awesome there are plenty of those in this film. (There are plenty in the other two Cornetto films too.)

My two word review for Cinematica was “Fighting Humanness.” That was my attempt to sum up the aliens vs. humans theme AND the humans vs. humans (or human vs. themselves) theme. We are jolly good at doing things that we know we shouldn’t.

Anyway, here are the things that resonated with me. (Obviously this is a personal take on the movie, influenced by the aforementioned things. The filmmakers may not have intended for someone to read these things into their film. That’s the subjective beauty of creation innit?)

THE FIGHTING

Nick Frost throws some punches, kicks and elbows that make me dance with glee every time I see them. The very funny Rosamund Pike also has a pushkick that looks great on the screen. Martin Freeman does a nice little escape move. Simon Pegg’s spit-take in one of the fights is hilarious. There’s a fabulous fight scene between Frost and Pegg. Fully committed fighting. Excellent.

THE MUSIC

Great songs; well used.

THE STORY CUES

If one pays attention the whole story is laid out before it is spoken. The running visual jokes – the numbers, the pub signs as chapter headings (e.g. “In which our heroes…”), the bar slogans and promotions, the out-of-order-disabled toilet, the euphemisms that aren’t… The audio cues – half heard lines, a technology sound we hear all the time, the ambient sound (this has a technical name, can’t remember what it is)…  Favourite visual joke – the “Drink Responsibly” sign. Favourite audio joke – the sound as they exit the bathroom after the first fight. *tee hee hee hee hee*

THE STORY ELEMENTS

Eddie Marsan’s character has a poignant back story about being bullied. (The resolution to that story, well I’m ambivalent about it, he briefly gets satisfaction by sort of turning the tables. However, the day after I saw the movie a tweep posted that the girl who’d bullied her all through school had spotted her in the supermarket and had come over to apologise for her actions. In front of my friend’s Dad no less. How cool is that? My friend’s elation was palpable even through the screen.)

Gary King and what he represents. He’s every friend you’ve ever had who is the best time ever – as long as you can get out before it all goes fuck up. God I love this character. (I’m not 100% sure I understand the resolution to his story. On one hand…then on the other… I don’t feel cheated though.)

The banter. King Arthur, ‘rain’, lost, slaves, “Let’s Boo Boo”, Cousin Paul. (I love me a callback.)

The reveals. There are a bunch of nicely done reveals. Visual reveals, story reveals. Nothing feels like it’s being held back for the usual “I can’t talk to you because I love you too much” bollocks. This is unfinished business.

The way that the personal is more important than the bigger picture. The town may have changed but the thing that’s important is the friendship. Steven and Sam’s story resolution is very satisfying.

 

Thanks to the cast and crew of The World’s End for your film.

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