Year-End Dash: The World’s End

The tremendously fun thing in retrospect about the first two installments of the now-referred-to-as The Cornetto Trilogy (Shaun of the Dead and Hot Fuzz being the first two) is not just the fact that they start fairly parodist but metamorphose to the parodied (sub)genre rather brilliantly. That and upon re-viewing the films you can see how brilliantly it all holds up together. I didn’t get to see this film until now so obviously I don’t have the benefit of a revisit yet, but there are some odd things in good ways and not-so-good ways about this film. The humor, the performances and the kinetic editing are there. Gary (Simon Pegg’s) character has an arc setting up for him right away, and that’s also good. I’ve commented this year on how I like a weird sequel and the thing is you never know what to expect with this combination of stars and director so it’s not like expectation is a huge stumbling block.

There’s good and apparent commentary on lots of things like nostalgia, aging, alcoholism, technology and the eternal “At what price progress?” questions; however, the fenestration which matters less here than in prior films is where it gets muddy. Things are found out and some pieces are picked up nicely and some pay-offs are brilliant, but some of the necessary exposition is rushed and doesn’t quite compute. There’s something newer in the offing and how omnipresent the parody element is here is a bit lost on me. However, what they’re creating in the end, is always new and there’s a point where I felt I was chasing it a bit too much; not such that I didn’t get it or like it, but that I felt I could’ve absorbed and liked it more with a bit more time in acts two and three.

6/10

Advertisements

Review- Paul

Nick Frost and Simon Pegg in Paul (Universal)

The first thing that needs saying about Paul is that it’s the first comedy I’ve seen in a while that struck me as one that will likely get better upon being re-viewed. However, unlike Pegg and Frost’s previous films, those which were pairings with Edgar Wright this film is more homage than homage/parody. There isn’t really that delightful and subtle transition that occurred in the initial installments of the Blood & Ice Cream Trilogy to elevate this one but it does not stop this film from being very funny indeed.

The lack of subtlety translates a bit to the humor of this film as well. Not that it ever really hits a discordant note comedically but it doesn’t have the well-hidden jokes or the built-in verve that the earlier films do. What it does have is a tremendous spirit and a genuine love for all things in the overarching genre that can best be called Fanboy. Whether it sci-fi, comics or anything else you can find at Comic Con this film loves it an embraces it.

It’s that spirit that really propels the film. There are a few things that become a bit too present like the mysterious boss, who is seeking to capture the alien (the eponymous Paul voiced by Seth Rogen), which is just an overly elaborate set-up to a short-lived cameo by Sigourney Weaver which has already been spoiled by the marketing department- see it does factor in sometimes.

Then there are the dueling chasers: the underling Agent Zoil (played by Jason Bateman, and yes there’s a great joke made about the name) and his subordinates Haggard and O’Reilly (Bill Hader and Joe Lo Trugio) who are kept in the dark to an extent about what this chase it really about. As if that subplot wasn’t enough the chase becomes even more cluttered adding Moses Buggs (John Carroll Lynch) whose daughter Ruth (Kristen Wiig) ran off with them, to the mix.

That is not to say that these things don’t fit, aren’t funny and don’t add something to the mix but they remain a bit separate and don’t represent a realistic threat until very late so most of the time it’s additional comedy added and more time allotted than is maybe needed. These elements aren’t folded in as neatly as they could be.

In this day and age when any animated character that exists is automatically endangered when there isn’t a name attached to play the role the concept of invisibility is very important, which if you haven’t read an animated review of mine before means the ability of the actor to blend into the film and become his character such that we don’t think of his face when we hear his voice. This was a huge hurdle for Despicable Me that was eventually cleared and in this film it was one of its greater struggles. Rogen’s voice is not only very distinctive but also rather inflexible such that until the character builds sufficiently it’s hard to not think of him.

The CG does help pull it through, however, as always it seems to be the case that when there is only one major project that the animators need to deal there seems to be greater attention to detail paid. Paul looks quite real some of the time and perhaps more importantly blends in with his surroundings very well.

The cast overall does an outstanding job. In the end Rogen does manage to make Paul rather an endearing if different extra-terrestrial than those we’ve come to know. Nick Frost and Simon Pegg show that they are the world’s premiere comedic duo at the moment and show no signs of slowing down. Kristen Wiig adds just the right amount of zaniness to the mix and be prepared to be surprised but an important, moving and hilarious supporting turn by Blythe Danner.

What is always very apparent with films that involve Pegg and Frost as both writers and performers is that you know their material comes from a place of genuine affection despite the spoofing and jokes. As a film fan it will remind you some of your very favorite films but also tell a tale of its own which is very worthy of your time.

8/10