The armageddon-through-beer-goggles approach brings the chuckles, but The World’s End stands up as a great example of the genre it ribs. Nostalgic, bittersweet and very, very funny.
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Despite its shortcomings, The World's End glistens with a comedic energy not present in equivalent mainstream blockbusters.
While things get a tad buckled town in mayhem and special effects throughout the film’s busy final reels, Wright spends enough time sketching out his mischievous middle-aged men so that their journey...feels worthwhile and even meaningful for a few of them.
A fraction less gut-bustingly goofy than its predecessors.
The World’s End is a fitting end to the trilogy: it is by turns trashy, poignant and gut-bustingly funny, and often all three at once.
As a film whose central theme emphasizes the dangers of living in the past, Wright, Pegg and Frost become fatally distracted by nostalgia, eventually paying too much homage to previous classics—especially their own—to create another film that deserves to stand alongside them.
This is a tighter, smarter film than either Shaun of the Dead or Hot Fuzz, and buried beneath all the blue-goo aliens and terrible punning is a heartfelt meditation on the perils and pleasures of nostalgia.
A knowing take on movies and maturity alike, The World’s End is just as thoroughly thoughtful as those which came before it, and maybe more than ever, you’ll find yourself laughing to keep from crying.