The World's End (Edgar Wright)

[Winston*]

http://i1.cdnds.net/13/24/618x916/movies-the-worlds-end-character-poster-3.jpg

IMDB (http://www.imdb.com/title/tt1213663/)

[Winston*]

Best movie.

[Spun Lepton]

What's the release date for the US?

[Kurosawa Fan]

Best movie.

I'd be excited, but this was your exact post in Pacific Rim. Thank you for lowering my expectations.

[Thirdmango]

What's the release date for the US?

August 23rd, the day you will surely see me watching this.

[Winston*]

I'd be excited, but this was your exact post in Pacific Rim. Thank you for lowering my expectations.

You not liking one movie I enjoyed definitely means you won't like any other movies I enjoy. Good call.

[Winston*]

My friend knocked my beer over me beer before the movie started so I watched the entire movie with a crotch covered in ale. Seemed fitting.

[Kurosawa Fan]

You not liking one movie I enjoyed definitely means you won't like any other movies I enjoy. Good call.

Of all the people on this board who Mara would need to hand a Snickers, I never expected you, Winston*. You're hurting my heart.

[Henry Gale]

GUYS.

As if the movie wasn't enough (and it really, really was super fantastic), Edgar Wright popped up at the beginning of our screening to introduce the movie, letting us know he'd be back afterwards for a Q&A. Awesome movie transpired. Moderator then let us know that the Q&A would be moderated by the jolly man that made his way into the audience right before the movie who received a short applause and a few high fives, who I couldn't be 100% sure if they were who I thought at the time.

Well, long story short: Guillermo del Toro and Edgar Wright nerdily dissected The World's End for a good hour less than ten feet in front of me, putting me in pure geeky bliss both right then and for the foreseeable future.

Best screening I could've ever won tickets for.

EDIT: also realize how perfect Winston and KF's back and forth was to lead up to this.

[Robby P]

Ridiculously excited for this. I haven't bothered to watch any of the summer movies this year but I am definitely going out of my way to catch this one in the theatre.

[Thirdmango]

I am tempted every day to get on a plane to London just to see this movie. I rarely go to midnight showings but if there's one here I'm doing it instantly.

[Henry Gale]

Can't wait to see it again this weekend, especially since as it's settled in my mind, it might actually be my favourite of the three. In the meantime, here are some lovely quotes to tide you guys over (all of which I agree with basically wholeheartedly):

https://fbcdn-sphotos-g-a.akamaihd.net/hphotos-ak-ash3/q71/s720x720/1001404_568146646582606_149350 63_n.jpg

https://fbcdn-sphotos-d-a.akamaihd.net/hphotos-ak-ash3/993386_567300650000539_1982734 967_n.png

https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-prn2/1186153_566753526721918_194731 9361_n.png

https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-ash3/1185214_567741696623101_573854 324_n.png

https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-frc3/1150908_566158490114755_551952 91_n.png

Actually saw a TV spot last night during Breaking Bad that marketed the footage with these quotes too. Interesting approach.

[number8]

Actually saw a TV spot last night during Breaking Bad that marketed the footage with these quotes too. Interesting approach.

I was thinking that too. They're going for geek cred rather than critical acclaim.

[Henry Gale]

I was thinking that too. They're going for geek cred rather than critical acclaim.

I mean, I think it's a bigger thing of there just not being too many critics or publications that can grab attention or instant credibility the way Joss Whedon and Robert Downey, Jr. currently can. But if it gets more people to see it then what's not to like?

[Winston*]

I've met a few people that didn't like this, but liked Wright's other movies. I don't understand.

[Pop Trash]

I've met a few people that didn't like this, but liked Wright's other movies. I don't understand.

It's gotta be better than Scott Pilgrim at least.

[Pop Trash]

It's gotta be better than Scott Pilgrim at least.

Then again...maybe not. I liked it quite a bit, but I can't help feel like the whole thing is a bit of a retread of Shaun of the Dead although with some sort of Gen X version of The Big Chill thrown in (which is funny since these characters probably would have made fun of The Big Chill a decade ago).

I think I prefer This Is the End. MER'CA!

[Thirdmango]

So good. I loved every moment, but then I knew I would love every moment before I saw it. I knew very little before I went in to see it, I even closed my eyes during previews for this so I wouldn't know. It was shorter then I expected. Def gonna try and see it again sometime this week.

[kuehnepips]

My friend knocked my beer over me beer before the movie started so I watched the entire movie with a crotch covered in ale. Seemed fitting.

:lol:

I'll see it in three weeks ...

[Wryan]

Wow. Wright and Pegg really, really committed to Gary King. No pulled punches. Fantastic. This one's a bit frayed around the edges, but on the whole it's fun and very strong. I think I liked Pegg and Frost's characters' relationship here even more than in SotD and HF. They suggest so many subtle layers to their shared history together, and it's just brutal and beautiful all at once. Didn't really care about some of the themes hammered in again and again, but I had a great time, and I can't wait to watch it again.

Can't say I've seen a better scene so far this year than in the World's End front room (before they hit the "back room," which is a bit wordy).

[eternity]

I laughed enough to give it a yay, but like the rest of the Cornetto trilogy, I just can't seem to give a shit.

[number8]

Boy, this was quite sad. Hits a bit hard.

[number8]

Also, I was hoping that the flashback in the beginning and the pub names would foreshadow the plot. Was not disappointed.

[Watashi]

Nick Frost bumbling and crashing through the glass door got one of the biggest laughs from me in a long time.

[Sven]

Nick Frost bumbling and crashing through the glass door got one of the biggest laughs from me in a long time.

Oh my, yes. A hearty guffaw.

Fight scene in the bathroom blew the hinges off my mind. Amazing film. Moving and hilarious and amazing.

[Kurosawa Fan]

This didn't show up anywhere near me. How the fuck is this not anywhere near me? Is it getting a wider release?


Fuck this town.

[EyesWideOpen]

This didn't show up anywhere near me. How the fuck is this not anywhere near me? Is it getting a wider release?


Fuck this town.

That sucks. I just checked and at the ten theaters within 15-20 minutes of me it's playing at everyone of them.

[dreamdead]

Yeah, we weren't surprised that we'd have to drive to Tulsa to take in Blue Jasmine, but we have to make that same 45 minute trip to see this. That's insane, so it'll have to wait until next weekend.

[number8]

Ant-Man's action scenes are going to be off the fucking chain, isn't it?

[number8]

This didn't show up anywhere near me. How the fuck is this not anywhere near me? Is it getting a wider release?

Fuck this town.


Yeah, we weren't surprised that we'd have to drive to Tulsa to take in Blue Jasmine, but we have to make that same 45 minute trip to see this. That's insane, so it'll have to wait until next weekend.

You guys have to remember that this is still a foreign movie being released by Focus Features. It got the same limited release that their indies get. Less, actually. Focus released Place Beyond the Pines in more theaters.

Unfortunately, non-American movies are still not as widely accepted as you would like to think. I mean, I went Friday night and the theater was 1/3 empty.

[Watashi]

There was hardly anyone in my theater on a Saturday night. It's only going to make around 9 million this weekend. Wright only has cred with the geek audiences, so maybe Ant-Man will be his huge breakout hit with mainstream audiences.

[Kurosawa Fan]

It's playing about 40 minutes away. I'll have to make the drive this week. Blue Jasmine is playing at my local theater, but not this. It's just confusing. Perhaps it's not making more money because of a lack of distribution.

[number8]

http://boxofficemojo.com/weekend/chart/

Upsetting.

[Dead & Messed Up]

Its per-screen average is damned impressive.

[EyesWideOpen]

I think I've finally come to terms that I'm not as in love with the Wright (I do love Scott Pilgrim)/Pegg/Frost trio as everyone else seems to be. I dug Shaun, thought Spaced and Hot Fuzz were ok and this I laughed a time or two but otherwise I got nothing out of this movie.

[number8]

Its per-screen average is damned impressive.

Yeah, I take it back. Nothing to be upset about. It's still a fairly impressive haul, and apparently performed much better than Focus' expectations in some cities.

After sleeping on it over the weekend, I'm more confident that this is my favorite of the trilogy, and is Wright's best movie.

[Kurosawa Fan]

Hopefully the per-screen average pushes Focus to expand the release this weekend. I really don't want to drive an hour to see this.

[Stay Puft]

After sleeping on it over the weekend, I'm more confident that this is my favorite of the trilogy, and is Wright's best movie.

Yeah, I watched the Cornetto trilogy this week (I had seen the first two before, but only once in their initial theatrical run), and each film is more accomplished and stylistically confident than the last (at the time I think I may have rated Hot Fuzz lower than Shaun, but it's more impressive now in my eyes).

The fight scenes in this one have amazing choreography, too. The bar brawl in The Beehive is a total Jackie Chan scene. Wasn't surprised afterwards to learn that Brad Allan worked on the film.

[number8]

The bar brawl in The Beehive is a total Jackie Chan scene.

Dude! Gary trying to drink in the middle of the brawl is straight out of Drunken Master II.

[Wryan]

Eddie Marsan is also really, really good in this.

[Henry Gale]

Saw it again over the weekend, and I'm pretty sure I found it even better the second time because of just how tightly foreshadowed everything is and how that allowed things to play in such a differently emotionally dictated way having all of its later reveals and developments in advance. Even a lot of the jokes played for me better knowing how they're designed to escalate and be called back on.

Like, I definitely thought he opening flashback sequence was more than solid the first time around, but fully seeing now how and why it mirrors and simultaneously decides to diverge with the events of pub crawl in the rest of the film is so satisfying in such a different way.

I love it so.

[Sven]

Eddie Marsan is also really, really good in this.

Yes. My wife laughed hardest at: "...a 'maby'!"

He's always great though. What's most spectacular is how the whole cast nails it, the film giving them all adequate time and opportunity. My biggest complaint, actually, is that Brosnan's character needed a bit more punch. Minor of minors.

[Henry Gale]

My biggest complaint, actually, is that Brosnan's character needed a bit more punch. Minor of minors.

I agree, but his "Pretty cool, 'ey gang?" moment makes up for a lot in my mind.

It's essentially a cameo role though. They cast it with a big enough star that you remember him as the principal in the opening sequence so that it feels like a less random person to confidently exposit what he does later on.

Technically Bill Nighy's role is even smaller, but it's more important.

[Fezzik]

Technically Bill Nighy's role is even smaller, but it's more important.

Bill Nighy was in this? I missed him completely.

[number8]

He's the voice of the network. Hard to miss if you're familiar with his cadence.

[Fezzik]

He's the voice of the network. Hard to miss if you're familiar with his cadence.

Oooh! Ok, I thought that sounded familiar.

"Oh, fuck it. It's pointless arguing with you." :lol:

[wigwam]

:|

[Bosco B Thug]

The US currently being on the brink of a damned-if-you-do-damned-if-you-don't situation of intervention and imperialism vs. assistance, this film resonated quite strangely.

The trickiest and weirdest of the Wright/Pegg films. It doesn't mean to ingratiate itself to you (despite Pegg's ace comedic charm being front-and-center), and it's a bit uncompromising, embodied most of all in how its essentially about this one captivating rogue and then his four mostly uninteresting friends. Less immediately pleasurable, but that leads to authenticated drama. It's The Dark Knight Rises of the trilogy.

[Spun Lepton]

I was ... disappointed. I don't know if my expectations were too high or what, but, yeah. I'll see it again before rating it. It might take a 2nd viewing to sink in.

[Qrazy]

Maybe it's my love for Scott Pilgrim, maybe it's the fresher non-spoof energy of the narrative - if still the formulaic setup-payoff overwriting like the other two - but this was much more satisfying to me than anything else these guys have done (besides Scott Pilgrim). Loved all the pre-Britpop music, Nick Frost's drinking and the Greengrass-y camerawork in the action choreography. The endings were sorta tiresome although the second one was admirably ballsy if uneven. I'm curious to rewatch the earlier ones now to see if they're this much fun.

Action camerawork didn't seem very Greengrassy to me at all.

[Sven]

Where Greengrass/editor chop, Wright/editor snap. The action is piercingly coherent in World's End (and Hot Fuzz, for that), with camera movement much more deliberate than Greengrass's.

Also, why "overwriting"? Seems like they were just structuring their themes. (Alright, alright, the World's End does drop a few lines too many spelling the metaphor out, but Hot Fuzz is screenwriting perfection.)

[Q & T]

Where Greengrass/editor chop, Wright/editor snap. The action is piercingly coherent in World's End (and Hot Fuzz, for that), with camera movement much more deliberate than Greengrass's.

Exactly. Greengrass is up close and very personal with his action while Wright sort of steps back and lets you view the entire spectacle.

[Dukefrukem]

I'm gonna try to see this tonight. Probably my last week before it leaves theaters.

[Kurosawa Fan]

I'm so fucking annoyed that this came nowhere near me. This is the End is getting a second run starting this weekend, but this couldn't show up for even one fucking week.

[wigwam]

Action camerawork didn't seem very Greengrassy to me at all.

Longtakes going from hit to hit staying tight on each one? That's Greengass as I recall (didnt sit through Green Zone). What's Greengassy to you? Did you see Wright spoofing anyone's style in the action shooting? It felt familiar on purpose for humor.

[Qrazy]

Longtakes going from hit to hit staying tight on each one? That's Greengass as I recall (didnt sit through Green Zone). What's Greengassy to you? Did you see Wright spoofing anyone's style in the action shooting? It felt familiar on purpose for humor.

Greengrass is shaky cam, whip zooms, hard hitting and rapid cuts. I don't know which scenes of his you're thinking of that feature long takes.


http://www.youtube.com/watch?v=4VznKqWl5VE

[Spun Lepton]

Saw it again, loved it this time. Only minor complaint is that Gary King isn't exactly the most likeable protagonist. I can't help wonder what the movie would have been like told from Andy's POV. Their increasing drunkenness became quite funny by the end.

[Rowland]

Only minor complaint is that Gary King isn't exactly the most likeable protagonist.I really liked that about the portrayal of his character, it suits the layered ambivalence with which this film views humanity.

Besides the obvious Mad Max reference point, did the ending to this remind anyone else of John Carpenter's undervalued Escape from L.A.?

[wigwam]

hard hitting and rapid cut

you're totally right, I didn't remember any cutting, just the whip zooms I guess

[Sven]

Besides the obvious Mad Max reference point, did the ending to this remind anyone else of John Carpenter's undervalued Escape from L.A.?

Agreed about undervalued, but the endings strike me as only similar in plot point. Carpenter's ending is an anarchy fantasy, Wright/Pegg's a maturation metaphor. Wright/Pegg's denouement address the ambivalent suggestions in which Carpenter's film, by cutting to black on the push-button, delight.

[Ezee E]

I was shocked that this was still playing in theaters around me. Quite a few in fact, so I got to it while I could.

I'm sort of like eternity. I've enjoyed my time during Wright's trilogy movies, but have never really cared too much about them. This has moments of greatness, usually when they are actually emphasizing that the characters are drunk. Nick Frost's hand through the glass, a few mumbles and stumbles. Those were the best bits. It really falls off for me at the end.

The action is superb though. Better then any movie that spent over $100 mill. I'm curious how Wright will do with Ant-Man.

[Kurosawa Fan]

This is opening at my theater on Friday. I'm confused, but either way,

:pritch: :pritch: :pritch: :pritch: :pritch: :pritch: :pritch:

[Kurosawa Fan]

Eddie Marsan crushed this film. Seriously, he was the stand out for me. Just loved every moment with him. The film gets a bit too sentimental at the end, and the epilogue is ridiculously unnecessary (would have much rather the film ended with them sitting on the hill again), but it was hilarious and touching and everything I was hoping it would be. Really great stuff, and a near-perfect way to cap off the trilogy.

[Irish]

Surprised there were so many YAYs for this. This movie was fucking terrible.

Boring, rote, repetitive, puerile and oddly sexist.

There isn't an original idea in it anywhere. It practically lifts story elements and whole beats from Shaun of the Dead. It takes dialogue from songs & mimics set ups from other movies for the hell of it, not to inform or entertain.

The tone is off too. Pegg's character is so wildly obnoxious and his motivations so thin I couldn't buy into the idea of four grown men -- almost all of them family men -- following him anywhere.

The emotional resolution was bullshit & completely forced.

Action was boring as hell. Lost count of the bar fights. They all looked and played too similarly.

Thematically, it went from superficial to completely retarded. You can't go home again? Suburbanites are automatons? Gee, thanks for those world-shaking insights, guys. This movie had all the imagination and style of an old GI Joe cartoon. Flat, flat, flat.

I kept wondering, since they were hell bent on making sure there were absolutely no consequences for any character (just like a cartoon), how they were going to bring back certain people from the dead.

The ending epilogue had me howling with laughter. And not in a good way.

Pure shit.

[Sven]

Content yourself with two pieces of knowledge:

1) Match Cut consensus is often wrong.
2) You are often wrong.

:twisted:

[Watashi]

Haha. Irish doesn't get a movie.

[Irish]

Haha. Irish doesn't get a movie.

Ok, fair enough. What did I miss?

[Spun Lepton]

There isn't an original idea in it anywhere. It practically lifts story elements and whole beats from Shaun of the Dead. It takes dialogue from songs & mimics set ups from other movies for the hell of it, not to inform or entertain.

Well ... it is a part of the same series. Hot Fuzz also shares similar structure.


Thematically, it went from superficial to completely retarded. You can't go home again? Suburbanites are automatons? Gee, thanks for those world-shaking insights, guys. This movie had all the imagination and style of an old GI Joe cartoon. Flat, flat, flat.

The theme I took from it was "Humans resist change/progress at their own peril."

[Scar]

Loved it. Will rewatch again soon. Wish I could've swung attending the trilogy in theatres.

[Irish]

Well ... it is a part of the same series. Hot Fuzz also shares similar structure.

There was a time when "sequel" meant a different story. Not serving up the same hamburger with a different bun and calling it "new."

It's not just the structure, it's the characters, the beats, the themes, the plot, and the action. They are far too similar. What worked well in "Shaun" becomes tired in "World's End."

There isn't a single new idea here. Borrowing from other movies is lazy, but borrowing from themselves is hack work.


The theme I took from it was "Humans resist change/progress at their own peril."

The movie writes this off as a plus, though -- obstinacy, the refusal to change -- is what saves humanity from The Network.

[Grouchy]

This was so fantastic. Pure joy distilled and thrown on screen.

[number8]

The movie writes this off as a plus, though -- obstinacy, the refusal to change -- is what saves humanity from The Network.

Er, the whole question the movie asks is if it's better to be ruled by order and advance or be left with human flaws. They rejected The Network, and the world ended. You think that's entirely a plus?

[Irish]

Er, the whole question the movie asks is if it's better to be ruled by order and advance or be left with human flaws. They rejected The Network, and the world ended. You think that's entirely a plus?

The movie bends over backwards to deliver a happy ending. So from that point of view: Yes, it's a plus.

[ledfloyd]

I opened a few threads in various tabs and when I clicked over to this one it took me a minute to realize you weren't talking about the HBO show. I was very confused.

[MadMan]

Just as I was about to rent this from RedBox it popped up at my local cheap theater. So I'll try and go see it this week before it leaves.

[Yxklyx]

This was disappointing coming from Edgar Wright - still a mild yeah.

[dreamdead]

The first third of this was so good, and the initial reveal of, and fight with, the "robots" was impressively delirious, that the rest of the film undercuts itself by having to then concentrate on plot over character. I'm with Irish on finding the epilogue needless and perhaps even egregiously pointless. The cast is wonderful, but when it loses Paddy, it loses some of that humanity a bit too much; same with Marsan. Freeman is amusingly off-kilter, though. Like to see him play this style more often.

The discussion with pronouns is likely the best bit here.

[Grouchy]

Yeah, the epilogue is a bit... what?

[Irish]

The first third of this was so good, and the initial reveal of, and fight with, the "robots" was impressively delirious, that the rest of the film undercuts itself by having to then concentrate on plot over character.

^ Thiiiiiiiiis.

The strength of stuff like Shaun was in its first act. That even if the extraordinary events never happened, you'd still want to watch a movie about those characters, and there's enough story there to feel like that's possible.

World's End does that too, but I remember thinking it was a shame about all the sci fi nonsense, which felt derivative and redundant. I coulda watched a picture about these guys without all that, and the broad jokes, and cheap, easy platitudes.

[number8]

Movie would be worse without that epilogue.

[Sven]

Movie would be worse without that epilogue.

^Thiiiiiiiis.

I like the layering of epilogues. The whole film is an epilogue.

[Mal]

I liked this better than everything else Wright has done that isn't Scott Pilgrim. Mild yay.

[ledfloyd]

Rewatched this recently and was in awe of how deftly the action scenes were directed. Awe-inspiring.

[Dukefrukem]

Irish gave this 1 star? Da fuck?

edit: just read his posts... makes a good point. BUt I still loved this. I love everything Edgar Wright and Simon Pegg and Nick Frost.

[Gizmo]

Watched this in 3 parts, due to having a couple young children that interrupt everything I try to do, and it just never was engaging enough to care if I stopped and just picked it back up later. Perhaps the loss of flow stemmed potential enjoyment, but it never gripped me after they got into the bars, and especially after the robots came. It wasn't as humorous as Shaun of the Dead to keep the interest in the down time, nor was it serious enough for me to take it serious in the dramatic moments. Was good, but I wanted great after hearing it was better than SotD, though I guess those reviews could have come from Hot Fuzz lovers, which I also found to be pretty "meh" with some funny moments thrown in. It's decent enough that I'll rewatch this sometime, in one sitting, but I'm not dying to see it again.

[Grouchy]

I've now watched this 2 1/2 times. I think it's my favorite Edgar Wright movie. But, to each his own, of course.

[Dead & Messed Up]

Yay. Fucking yay.

More than anything, I just want to watch it again. It's so hard for me to unpack these guys' movies on an initial viewing. Not just the references, but how quickly the themes twist and contort and shoot off in unexpected directions. And Pegg's performance was the best he's given. And I loved the old-school look for the aliens, so wonderfully 50s. Apart from seeing a few too many robots getting punched in the face (that gets a bit old), I haven't nothing but praise. Oh, wait.

I wanted more Brosnan. :(

[Spinal]

Don't know why it took me so long to get around to this one. My expectations were lowered because I didn't really get into Hot Fuzz. I assumed that the Matchie nomination for Pegg was an eccentricity of the site. But after seeing the film, I couldn't agree more. I've always liked Pegg, but I've never really thought of him as an actor before. I've always considered him a comedian who acts. His performance here is extraordinary, navigating a character who is a clown on the surface, but deeply damaged within. The conceit of having middle-age Gary stubbornly chase after an arbitrary prize related to youthful recklessness and freedom is brilliantly executed. As the world seems to fall apart around him, we start to realize the extent of his desperation as he refuses to let go of his quest.

It's a funny film, I suppose. But what surprised me is how much I enjoyed it despite laughing very infrequently. Above all, it's a movie of deeply rooted pain and loss. The comedy and the sci-fi elements are seemingly just a way for these particular storytellers to approach their chosen topic. It felt like a Lovecraft story to me at times, with a quaint town holding darker secrets.

[Morris Schæffer]

Completely at the other end of the spectrum. Yes, there were themes and attempts at something deeper, but the manic, incessant chaos and repetitive nature of the action scenes exhausted me greatly. I truly didn't care one iota about anything that went on after about 45 minutes. There's a few great moments, sincere ones even such as when Eddy Marsan (Already forgot his name) meets his bully and a world of pain seems to come to the fore, but before it has a chance to go anywhere, it is quickly buried under uncontrolled, rampant kinetics and entirely unconvincing aliens. Yes, this is comedy, not something where the adversaries are supposed to terrify, but I still found them boring whereas Timothy Dalton was a genuinely memorable villain in Hot Fuzz.

[megladon8]

Was a little disappointed with this one, but I may just need another viewing.

It's funny, though, because I can't put my finger on what it was I didn't like. I loved the 5 leads, the action was handled surprisingly well, the story and themes were interesting and well implemented.

It was just missing a certain...something. A spark that was in the previous two films and just wanted quite there in this one.

[baby doll]

Boy, the climatic scene with the villains explaining their sinister plans just goes on and on and on. Fundamentally, I don't think Wright has any real chops as a storyteller: Even Scott Pilgrim, which has a lot of wit and invention, reaches a point of diminishing returns fairly early on, and that's even more true of this movie which, after the big twist, rapidly descends into a lot of tedious running around and fighting.

[Dead & Messed Up]

Yay. Fucking yay.

More than anything, I just want to watch it again. It's so hard for me to unpack these guys' movies on an initial viewing. Not just the references, but how quickly the themes twist and contort and shoot off in unexpected directions. And Pegg's performance was the best he's given. And I loved the old-school look for the aliens, so wonderfully 50s. Apart from seeing a few too many robots getting punched in the face (that gets a bit old), I haven't nothing but praise. Oh, wait.

I wanted more Brosnan. :(

On rewatches, I think this has become my favorite Wright/Pegg film. The engine of desperation that powers it gives the frenzied humor a deeper, disturbing context that isn't in the other two. And it's probably the most dense of the three in terms of theme.

[D_Davis]

Don't know why it took me so long to get around to this one. My expectations were lowered because I didn't really get into Hot Fuzz. I assumed that the Matchie nomination for Pegg was an eccentricity of the site. But after seeing the film, I couldn't agree more. I've always liked Pegg, but I've never really thought of him as an actor before. I've always considered him a comedian who acts. His performance here is extraordinary, navigating a character who is a clown on the surface, but deeply damaged within. The conceit of having middle-age Gary stubbornly chase after an arbitrary prize related to youthful recklessness and freedom is brilliantly executed. As the world seems to fall apart around him, we start to realize the extent of his desperation as he refuses to let go of his quest.

It's a funny film, I suppose. But what surprised me is how much I enjoyed it despite laughing very infrequently. Above all, it's a movie of deeply rooted pain and loss. The comedy and the sci-fi elements are seemingly just a way for these particular storytellers to approach their chosen topic. It felt like a Lovecraft story to me at times, with a quaint town holding darker secrets.

I need to see this.

I, too, disliked Hot Fuzz. More than disliked - I hated it. Terrible movie. Completely soured me on anything this team would do after, which is totally unfair.

[transmogrifier]

Shaun of the Dead is easily Wright's best film. Hot Fuzz is alright, Scott Pilgrim a bore, and World's End starts well enough, but just becomes loud and annoying when the true story begins.

[number8]

I felt a great disturbance in the thread... As if a million voices suddenly have the urge to rank Edgar Wright's films, and will be told they're wrong.

[Mr. McGibblets]

A Fistful of Fingers is definitely his worst film.

[Dead & Messed Up]

I love all three Cornettos and I could really just attribute any ranking to my personal interests and not how well each film is executing its specific goals. I do think Scott Pilgrim is less than, mostly because it's such a fever-dream that the figurative stakes don't feel terribly stakey.

[Grouchy]

How can anyone hate Hot Fuzz?

[Dead & Messed Up]

How can anyone hate Hot Fuzz?

Match Cut.