With both a bang and a whimper
By Jonathan Price
The World’s End (2013, directed by Edgar Wright) is really two films, a kind of British version of The Hangover (2009, with sequels in 2011 and 2013), and a remake of the already once-remade Invasion of the Body Snatchers (1956, remade in 1978). Put thus baldly, it hardly seems that those two combined could make a single film, but the film manages to hold it all together by having a single plot narrative that takes five aging British males back to their hometown to recreate the Golden Mile, a pub crawl (12 pubs, 12 pints) they never quite finished at the end of high school. The first part of the film, with its reconsideration of adulthood growth and loss, is the funnier and more interesting. Nevertheless, the filmmaker’s original idea incorporated the second strand—that of returning home to the strangeness of homogenized village England, where all the pubs are nearly identical—which became the template for the science fiction part of the film.
By Jonathan Price
The World’s End (2013, directed by Edgar Wright) is really two films, a kind of British version of The Hangover (2009, with sequels in 2011 and 2013), and a remake of the already once-remade Invasion of the Body Snatchers (1956, remade in 1978). Put thus baldly, it hardly seems that those two combined could make a single film, but the film manages to hold it all together by having a single plot narrative that takes five aging British males back to their hometown to recreate the Golden Mile, a pub crawl (12 pubs, 12 pints) they never quite finished at the end of high school. The first part of the film, with its reconsideration of adulthood growth and loss, is the funnier and more interesting. Nevertheless, the filmmaker’s original idea incorporated the second strand—that of returning home to the strangeness of homogenized village England, where all the pubs are nearly identical—which became the template for the science fiction part of the film.

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