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With that in mind, on a technical level, the movie rewards Film Twitter’s members with near-constant “how did they do that?” discourse, without the discussion of craft getting in the way of appreciating the movie’s emotional payload. And the whole feature-length music video vibe is intentional every entrance, every sharp turn, is timed to whatever music governs the scene.
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Baby Driver affords the writer-director a chance to showcase his love for music and his effortless ability to craft complex-but-never-confusing action scenes with arguably his most romantic film yet. Wright’s 2017 sleeper hit was a welcome addition to the caper genre, with its anti-shaky cam approach to its inventive car chases that unfold more as blockbuster music videos than just Fast & Furious-esque muscle car porn. And, of course, there are some killer jokes and inventive fight scenes in there, too. But, what makes The World’s End so heavy (and great) is that it’s really referring to the too-late collapse of the world that Gary thinks he lives in. The World’s End refers to the pub that marks the last stop of the ill-fated crawl, and it refers to the literal end of the world due to the alien invasion. Actually, an epic pub crawl redo is the absolute worst thing he could’ve tried - and that’s before the alien robot invasion. King isn’t a late bloomer, he’s a full-fledged, middle-aged man who has stunted his growth through alcoholism and he doesn’t realize that not even a redo of an epic pub crawl from 23 years ago can recapture the magic of youth and rekindle old friendships. While several of his movies are about growing up - characters who are just over the edge of adulthood and need to catch up and take some responsibility - Simon Pegg’s character in The World’s End, Gary King, is depressingly old. The third film in the Cornetto Trilogy is also the third-best, but that’s not a knock against World's End, which might be the most complex and mature film Wright’s ever made. That’s great - regardless of whether or not the comic captured the tone a little better. Even though Scott Pilgrim’s fans are numerous, the movie still feels like something that was, improbably, made for each of them, specifically. The battle scenes are dynamic and fun, the cast is stellar (Michael Cera is perhaps slightly miscast, though he acquits himself well), and the whole movie feels so oddly specific. That’s not the worst thing in the world, as although Wright’s Scott Pilgrim can’t do everything the comics did, the director really makes sure that his film adaptation is cinematic.
Wright was quite possibly the best person to take that challenge on, and his 2010 film has rightfully become something of a cult classic in its own right, even if it can’t quite capture what made O’Malley’s comics so fresh. It’s a very specific style, one that works best on the comics page and might not translate so well to film.
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Last Night in Soho (2021)īryan Lee O'Malley’s Scott Pilgrim comic series was truly unique, a blend of indie comic style, video game-inspired storytelling, and a somewhat crushing story about young adult ennui and the necessary challenges of growing the hell up.
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SYFY WIRE won’t be resorting to those methods because we don’t want PC Angel to come down on us. A British Western (a bit of an oxymoron if there ever was one), has not been released commercially and it’s nigh-impossible to watch legally and difficult to find via… other… methods. The other omission is A Fistful of Fingers, Wright’s 1995 debut film. The film, which is about the art-pop duo Sparks, is wonderful, but somewhat outside what we normally rank here at SYFY WIRE. Why most? Well, because one of the two movies he released last year, The Sparks Brothers, is a documentary. In honor of Hot Fuzz, we’re ranking most of Egar Wright’s movies. And while 15 years isn’t the most important anniversary out there, we couldn’t wait until Hot Fuzz turned 20 or even - gasp - 25 before celebrating it as one of the beloved director’s best films. Hot Fuzz, the second of Edgar Wright’s three films in his thematically connected Cornetto Trilogy, hit American theaters on April 20, 2007. Perhaps just as importantly, he also tracked down a missing swan.
A decade and a half ago this week, PC Nicholas Angel took down a corrupt, shadowy criminal conspiracy in the suspiciously perfect town of Sandford, Gloucestershire.
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