The World’s End (2013)

Down the Hatch

Can estranged friends go home again? And if they do, what will they find? These are just a couple questions raised by Edgar Wright’s latest film “The World’s End,” a terrifically warm and vibrant comedy, starring Simon Pegg and Nick Frost.

“World’s End” is essentially a reunion story about five former high school chums (chums!): the strapping, confident and headstrong corporate attorney Andy (Nick Frost), smarmy, buttoned-down and constantly-on-his-bluetooth real-estate broker Oliver “O Man” (“The Hobbit’s” Martin Freeman; so nicknamed because of a ring-shaped birthmark on his forehead), the earnest and honest land developer Steven (Paddy Considine), and mild and meek (yet terribly sweet) car salesman Peter (Eddie Marsan), They return to their hometown to attempt a legendary pub crawl “the Golden Mile,” only to find the place isn’t exactly as they remember. Along their beer-soaked journey long-simmering grudges are unearthed, friendships strengthened,  mysteries uncovered, souls bared and endless pints emptied. Also gallons of blue blood are spilled.

Pegg plays the motor-mouth, self-aggrandizing Gary King. The ersatz leader of the group, King never grew up. The crawl’s his idea, as a way to recapture the glory of youth. It means a little more to him than it should. Frost’s “Andy” (like the rest of the group) has moved on to adult life, acquiring a family and productive career in the process. Compared to other Frost characters, Andy is relatively quiet and understated, though loyal as a dog.

Each member Gary pitches is initially reluctant (questioning how he possibly managed to convince Andy, after some vague “accident” the two survived long ago), but of course ultimately decides to play along (if for no other reason that to humor the overly-enthusiastic Gary). They recognize how much the adventure means to him and acquiesce, some simply because they haven’t the energy to resist Gary’s pleas.

Roughly 20 years removed from their heyday, the group returns to find the town much as they left it (on the outside, anyway): the pubs are still right where they were, with the very same barkeeps pulling draughts. Career alcoholics hold down identical barstools from decades earlier. But something’s not quite right. Old friends and acquaintances are either too friendly, not friendly enough, or don’t recognize them at all.

No matter. Gary is singly focused on completing the task at hand. The night is young (even if the group’s members aren’t), and there are too pints to swill before the journey’s done.

Where the movie goes as the group pursues its adventure, I won’t spoil. But you haven’t seen this before. It could’ve been a clichéd retread, but it’s not. The story is fresh, clever and alive. We can sense the actors and film makers had a genuinely good time making this movie; It shows in the final product. The group has an “all-for-one” ethos (the 3 Musketeers is referenced more than once), which is winning.

Similar to Wright’s other films, several underlying themes are thrown in amongst the one-liners and raucous action sequences: Love-in-a-time-of-chaos is one of them, via Gary and Steven’s long-unsettled rivalry over O-Man’s pretty sister Sam (Rosamund Pike). The film also weighs in on conformity, maturity, homogenization, the burdens of friendship, camaraderie, gentrification, nostalgia, aging, change, rebellion and the promise of a future unfulfilled. Some of it is serious stuff, but it’s balanced out well with action. And PLENTY of comedy. It’s an interesting mix, where one minute friends express honest emotions in poignant scenes, the next containing sequences of outlandish action. Yet it all works, because “End” is mostly unconcerned with larger world, but focused simply on what’s happening to this group, in this place, at this particular time.

Like the other Wright films, “World’s End” something lurks ominously just beneath the small village’s seemingly tranquil surface. The film places a small band of alienated outsiders against a larger, overwhelming horde. It also makes several self-referential jokes, which will be obvious to those who have seen Wright’s earlier movies. The progress of their crawl is measured by the pubs Gary’s crosses off his list. It’s an interesting timer/measure of their progress, propelling the film forward.

An energetic performance by Pegg, as well as a more thoughtful, nuanced one by Frost, give the film charm and depth. It’s endless quick cuts, “whooshing” sound effects, elaborate and well-choreographed fight scenes, and mini-montages create a frenetic pace, that’s endlessly entertaining. If you’re a fan of Wright’s earlier “Shaun of the Dead,” “Scott Pilgrim vs. the World,” “and “Hot Fuzz”, you won’t be disappointed here (though “World’s End” has more heart and tenderness than those earlier efforts).

Along with “Shaun” and “Hot Fuzz,” “The World’s End” is the third in Wright’s “Cornetto trilogy.” Like those earlier films, this one, too, is a rollicking good time.