The World’s End by Edgar Wright

The World’s End by Edgar Wright

Five friends who reunite in an attempt to top their epic pub crawl from 20 years earlier unwittingly become humankind’s only hope for survival.

The Cornetto trilogy is a trilogy in name only. As far as I can see, the chief link between Shaun of the DeadHot Fuzz and The World’s End is Simon Pegg, Nick Frost, Edgar Wright and the fact that they are all stories about friendships between men. There’s nothing in The World’s End‘s story or theme that forces any finality or closure.

The core story between the five friends dealing with being forty was compelling and heartfelt. It’s nice seeing Paddy Considine, Martin Freeman and Eddie Marsan play bigger roles in a commercial film and a fresh turn seeing Nick Frost playing the most competent character. The story with Simon Pegg’s Gary King is genuinely the darkest and saddest territory these films have ever ventured.

When the genre stuff kicks in, it was quite the surprise. The first time around I couldn’t tell how exactly the core story about the five friends fit with the sci-fi genre elements that cut in the middle. The film simply operates too much on a thematic level. For example, the fact that the twelve bars they visit are all thematically named after points in the story seemed more on the nose than ironical. The humor itself is less blatant than in Shaun of the Dead and Hot Fuzz; it’s more akin to laughing at the thematic irony of the situation rather than laughing at funny zingers. It is all very clever stuff, but it may take multiple viewings to really digest its heavy ideas along with its spectacle. I had to watch it again before writing this review.

Now admittedly, out of all the three films, I knew least about the films that The World’s End is referencing. Audiences familiar with Invasion of the Body Snatchers and John Carpenter films will probably have a different experience than me. But at the end of day, science fiction or not, watching five men on a pub crawl just isn’t as cinematic as a zombie outbreak or a midday gun battle.

The fight choreography, although they are drunk bar fights, have a nice martial arts rhythm to them. It seemingly is an aesthetic Wright has brought from Scott Pilgrim vs. The World. They were visually theatrical and matched the film’s ironic tone.

I take issue with the epilogue as the story ended on a rather cold morbid note that seemed mean to its characters. If only The World’s End was the second installment in the Cornetto trilogy, it would have relieved itself from following up on the more comical light-hearted expectations from Hot Fuzz and Shaun of the Dead, I probably would have liked it more as the darker second installment of the trilogy. That said, it’s dense and the film probably will grow on me with subsequent viewings.

Trance by Danny Boyle

Trance by Danny Boyle

Trance by Danny Boyle

An art auctioneer who has become mixed up with a group of criminals partners with a hypnotherapist in order to recover a lost painting.

Danny Boyle’s new film Trance is an cinematic assault on the senses, and unapologetically so. The premise behind Trance is inherently silly. This is a world in which where hypnosis is magic and accomplishes everything. I doubt any real gangster in the world would ever incorporate a doctor of any kind to assist them with crime.  Audiences just have to go along with it. With trippy cinematography and an awesome soundtrack that I want on my mp3 playlist, Boyle crafts a colorful thrill ride of a film.In the past, Danny Boyle has experimented with genre to varying degrees of success. 28 Days Later worked for me, Sunshine did not. For Trance, the genre-shifting nature works mostly because of its three stars giving it the proper balance. All three lead actors are given dimensional characters to play. Vincent Cassell and James McAvoy seem to be enjoying their roles as they get to play out not only their own characters’ complexities, but their fantasies and projections as well. The standout, surprisingly, is Rosario Dawson.

This is the best Rosario Dawson role I have seen thus far. In her past roles, her sex appeal has been used too blatantly and it has taken away from her performances. The more you intentionally portray someone as sexy on film, the less sexy it is. I am too aware that I am supposed to be aroused by something that I am not totally immersed in. It’s more the idea of sex and the building of sexual tension that creates onscreen sexiness. Danny Boyle sets up the proper atmosphere and films her in a way that forwards the story. Boyle creates an allure to Rosario Dawson’s hypnotherapist character, who’s just sitting down in plain office attire hypnotizing the male characters with words. Her presence adds an entire genre, the erotic thriller, and it sets the film off on a corkscrew spiral mixing film genres, reality and dream states. Nobody is who they seem to be and the film delivers some nice twists and turns.

There’s a trashiness that the film revels in, as if the film is fine with the audience being aroused and indulging into its stimulus. It never gets serious enough for the audience to ever truly take it seriously. So for that, Trance is a fun naughty little piece of pop art, that’s not to be taken seriously and I was comfortably lost in it.