The World’s End: Childhood’s End

by Ethan Alter August 23, 2013 5:55 am
<i>The World’s End</i>: Childhood’s End

Ever since Shaun of the Dead kicked off their so-called Cornetto Trilogy, Edgar Wright and his regular cohorts Simon Pegg and Nick Frost have repeatedly stated that they aren't mere spoof-meisters à la the classic Zucker-Abrams-Zucker crew or the more recent Friedberg & Seltzer team. Sure, both Shaun and its follow-up Hot Fuzz directly riff on specific genres and films the trio in charge grew up watching, but they aren't an Meet the Spartans-style assemblage of pop culture-derived sketches. Or, for that matter, a Top Secret!-like tapestry of nuttiness mostly untethered to things like plot and character development. Rather, they argue, each of the individual entries in the Cornetto series is a movie unto itself, where they use familiar genre tropes and famous movie scenes they've carried with them since childhood to advance a new story and set of themes. That line of reasoning gets its strongest workout in The World's End, the last Cornetto film and by far the most dramatically ambitious of their collaborations to date.

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