The World's End

I'll be upfront — I've got a soft spot for Simon Pegg. But even with that bias aside, this film landed as my least favorite among his works, both as an actor and a screenwriter. Why? It felt like a rehash of Shaun of the Dead with a few tweaks. And frankly, that just doesn't cut it for me. The cast looked promising and I couldn't wrap my head around why this film had such a low rating. Well, now I get it. Compared to Shaun, Hot Fuzz, and Paul, this one fell noticeably short, leaving me with the impression that Pegg might've rushed through the screenplay. Aside from a handful of standout moments, I found myself less entertained than usual — even bordering on boredom, which is a first for me with the Pegg/Frost duo. The only silver lining? I finally understand why they use blue blood in certain ads. / Lesson learned: When things don't go as planned, don't lose your head. (01/06/2024)

The first third is like a flowery hop, boyish-bodied ALE with a delicious taste, whereas the second third begins to smell like an ordinary Eurolager, but it's brisk and drinkable. The final third is like a musty small cellar beer with the dull aftertaste of steamy socks of people who saw too much in their idea. A film whose wheels fall off. Wasting talent and good ingredients for something that again does not lose sight of the genre, but desperately loses sight of itself. History repeats itself, but compared to Hot Fuzz, this is an even thinner attempt at a cheeky meta-party. Most of all, it's quite sad to see how all the overlap literally stamps out the film at the end of the verbatim and still stays with only a few badly grafted references. This is simply not cheeky or clever, just weathered. I pour the end out the window. [65%]. (10/22/2013)

Guy Ritchie often returns to the world of British crime, yet he is always different, at least to the extent that he remains interesting and entertaining. Wright comes up with new ideas, only to soon reveal that he is still filming the same way, using the same kind of adolescent humor that loses its appeal and becomes more annoying. Wright has exhausted himself over the years and The World's End is a clear example of that. Yet all he had to do was stick to the original idea of ​​trying to revive the old gang for at least a few hours and return to the times of adolescence. He also needed to tone down Simon Pegg, who, while being a stalwart of the British comedy scene, needs a strong directorial hand over him because otherwise, he becomes an uncontrollable element. Under these conditions, Wright could have expected an above-average result, but I wouldn't ask too much of him. It only gets worse and worse from the fight in the pub restrooms. Overall impression: 40%. (02/03/2021)

Simon Pegg, Nick Frost and Edgar Wright meet for the third time in a row. And for the third time in a row, do a decent job. It’s no longer so much fun as Shaun of the Dead but it’s still good. It’s not as much about fun rather than about the boys getting together and shooting another crazy but good movie, this time poking fun at sci-fi. Moreover, I saw The World’s End after about six beers, so my rating reflects that. Nevertheless, I think that had I not returned from a pub, I’d have opened a beer while watching this, because a movie like this needs that. As pubs are its subject matter, it’s hard not to think about beer during the first five minutes. Anyhow, the boys managed to get a great cast for their movie – Freeman, Marsan and Considine were really cool. Each of them did their own thing and it fit the movie well. I wouldn’t mind going on a beer trip like this, maybe except for the global consequences. I’d give those a pass. But the rest was a wild ride indeed. (12/18/2013)

"Have you noticed how communications technologies have developed in the last ten years?" "No." The odd fear was that after the commercial awesomeness of Scott Pilgrim, Edgar Wright's anarchic creativity would be hidden under a bushel. On the contrary, what emerged was probably Wright's purest film, managing to combine two of the director's distinctive virtues: his work with humor and his ability to make good, uncluttered action sequences. In addition, the drunken celebration of fighting the system and especially the constant wit are practically uncorrected by any external interference, so that you can enjoy, for example, an excellent dosage of jokes that are not patently written into the scenes, but instead are the drivers of the plot. This is especially noticeable in the fact that they often build on things that have been hinted at before, so you have to remain constantly vigilant and see beyond the hilarity of the film. Plus, for perhaps the first time, Simon Pegg didn't get on my nerves. Imaging what this director could have done with Ant-Man will forever be in my masturbatory fantasies. (Apologies to the users here for adding the 667th review. Truth be told, I don't give a shit and Satan may rise) (02/10/2016)