Zombie
parody Shaun was excellent, cop spoof Hot Fuzz was decent and now, Edgar Wright
concludes the so-called ‘Blood & Ice Cream’ trilogy with science fiction and
alcohol.
Where
there’s Pegg, you can bet your booty that Frost won’t be too far away but Run
Fatboy Run and Attack the Block are notable exceptions when they had a break from each other.
So
will this provide a great night out or simply ensure a brutal hangover?
Plot
details and/or spoilers will be replaced by The Network.
Those
attempting to find answers at the bottom of a glass include:
Simon
Pegg - Gary
Nick
Frost - Andy
Eddie
Marsan – Pete
Martin
Freeman – Oliver
Paddy
Considine – Steven
Rosamund
Pike – Sam
Bill
Nighy – Voice of The Network
22
June 1990.
We
are introduced to a bunch of your typical testosterone fuelled teenage kicks
who attempt the ‘Golden Mile’ by negotiating twelve pubs in Newton Haven and if
successful, they’ll reach The World’s End.
Their
best isn't good enough and the lightweights fail.
20
years later…
Gary,
the leader of the pack or Gary the King successfully tracks down his pals who
reluctantly agree to help arrest twenty years of torment and help Gary exorcise
those drinking demons.
While
our man is still imprisoned in the past, life is very different for the
remainder as they boast successful careers ranging from a car dealer and property
seller.
Some
may consider them, ahem, boring.
Despite
their reservations, the lager is about to flow.
Oliver’s
sister Sam appears in one of the drinking pits and Gary follows her into the
toilet believing the opportunity for a knee trembler is available but instead is rewarded a slap to the chops.
With
the atmosphere becoming increasingly awkward and forced, people are about to
bolt.
Pete
also makes eye contact with a bully when he comes over to take a chair.
Gary’s
brick of a phone rings from his recently deceased mother which really pisses
Andy off.
Meanwhile
in the toilet, Gary picks a fight with a teenager who is exposed as a robot
when accidental decapitation takes place.
Let’s
mop this up; they are given the adopted name of Blanks and/or robots filled
with blue stuff.
Devoid
of metal and wires, they look more like human mannequins.
The
lads burst in to kick Gary’s ass for his deceit but end up having a scrap with
other Blanks who get in on the action.
With
the night well and truly spiced up, Andy thinks ‘sod it’ and downs multiple
shots.
They
decide to continue with the original plan in order to avoid attracting
unnecessary attention.
In
a pub holding a school disco, sultry vixens seduce in the best days of our
lives clobber.
An
old acquaintance in Basil lays it all down and explains that they came back in
the day and are able to ‘replace’ us by extracting DNA.
Sam
appears and drags the boys out of there as this sort of education is clearly
unwelcome.
Their
former teacher already has the drinks lined up and urges them to accept their
fate. They also realise that there’s
something mechanical about Oliver.
A
scrap breaks out consisting of my friends biff, bash,
crash, bang and wallop.
Shortly
after, Gary tells Sam to take the car and get the fuck out of Dodge.
The
remaining friends take refuge at a bowling club and each demand that they prove
who they really are.
Gary
being Gary continuously headbutts a wooden post, thus passing the human test.
After
resisting the advances of more robotniks, Gary and Andy make it safely inside The
World’s End.
Emotions
run high and after pouring their hearts out, Gary attempts to serve himself a final
568ml but instead of the amber nectar, he pulls a secret chamber.
Boss
voice The Network explains that their invasion is for the good of humanity and
is responsible for technological advancement.
Predictably,
Gary’s having none of it and as there’s little point in arguing with him, ‘fuck
it’ and the invasion is abandoned. All
robots are subject to shutdown and scarpering from self-destruction prompts the
imminent aftermath.
At
some point in the future, Andy recalls the story around a campfire, surrounded
by the ruins of London.
Their
retreat has forced The Dark Ages upon them and while robot surplus have
reactivated (including Peter and Oliver), they are deemed untrustworthy by
humans.
Matters
conclude with Gary and robots of his younger friends walking into a bar and
ordering rain.
While
not great, this exceeded my expectations.
Pegg
and Frost are ever reliable in contrasting roles while Bill Nighy, Pierce
Brosnan and David Bradley bring little amusement but do beef up an already
impressive cast.
As
expected, Shaun and Fuzz geezers return but the recruitment of Pierce Brosnan makes
Shaun a lost connection as it’s without a former 007.
I
also noticed Mark Heap as one of the bar tenders. Most will know him from Green Wing as crazy
Dr. Statham.
So
are antics funny?
Well,
I’d answer that by saying it’s a mixed bag.
The
fight sequences are admirably staged and importantly, comedic elements are
easily recognised.
Action
highlights include the female robot with legs where its arms should be and the
Blanks refusing to let Gary finish off his pint.
Gary
advising Andy to ‘twist his melon man’ is an obvious reference to Step On by
Happy Mondays.
Pete
attacks his tormentor with a branch which must be a tribute to John Cleese’s
maniacal hotelier where Basil famously gives his vicious bastard of a car a
damn good thrashing in Fawlty
Towers.
Even
after all these years, it’s still brilliant.
Anyway,
the language is sometimes more colourful than a rainbow and is necessary for
undoubtedly the film’s funniest line.
Gary
tells The Network to:
“Get
back on your rocket and fuck off back to legoland you cunt.”
Legoland? WTF?
Apart
from the now boring running through the fence gag, there are two subtle trademarks
to hear and notice.
The
same fruit machine sounds off in one of the pubs and during the apocalyptic
epilogue; Andy speaks of not missing processed food until a Cornetto wrapper
blows against the fence.
Like
Trainspotting, this too also benefits from a fine soundtrack composed of essential
tracks from Pulp, James, The Stone Roses, Suede, Teenage Fanclub, Happy Mondays
and Inspiral Carpets.
The
thoughtless ending doesn't detract from an enjoyable drink and ensures a fitting
climax to a memorable and inspiring trilogy.
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