Bangers n' Mash 73: The Films of Edgar Wright

Can you believe this was supposed to come out weeks? Following my Director's Report Card on Edgar Wright, I had talked my co-host into doing an episode about that very subject. Originally, I had hoped to have this up before the start of the Halloween Horrorfest Blog-a-thon. Well, life got in the way and here we are, the month nearly over and me only getting the first of two Bangers n' Mash episodes up.



If you haven't read my Wright Report Card, definitely give this one a listen. If you have read the Report Card, think of this as a supplement. More Halloween reviews coming tomorrow and another episode of the Bangers n' Mash Show coming before the month is over.

Director Report Card: Edgar Wright (2013)

5. The World’s End

After the break-out success of “Shaun of the Dead” and “Hot Fuzz,” Edgar Wright was a hot talent. Suddenly, his name was attached to several projects. There was “Scott Pilgrim vs. the World,” which he would make next. Another comic based property Wright was supposed to direct was “Ant-Man,” a movie he would eventually exit among much fanboy outcry. Briefly, his name floated around “Them,” a comedy based on a book about conspiracy theories that would’ve starred Jack Black. During this time, hidden at the margins of his IMDb page, was a third movie. “The World’s End” would be the conclusion to the Cornetto Trilogy. For a long time, that was all we knew. What would this fabled film be about, we wondered? Would “The World’s End” be a throwback to eighties post-apocalyptic action flicks, the way “Shaun of the Dead” and “Hot Fuzz” homaged zombies and buddy cops? An image that entered my mind was of Simon and Nick walking down a bombed-out road, carrying crossbows. “The World’s End” wasn’t this, not quite. The final film may be the weakest of the Cornetto Trilogy. Which means it’s still an amazingly funny and incredibly well made film.

Back in their high school days, Gary King and his gang of friends were really close. A day he still remembers is when the five of them attempted to complete the Golden Mile, a pub crawl of 12 bars. The group didn’t complete the crawl then. Now, as an adult, Gary wants to reunite with his bros and reach the World’s End, the final pub. Unlike Gary, who still holds onto his youthful partying ways, his friends have all moved on. Yet he manages to talk everyone into returning to Newton Haven and taking on the bars. Upon returning to their childhood home, they start to notice something mysterious. An alien conspiracy is rooted in their home town. Despite this, Gary insist they complete the pub crawl, becoming increasingly more sloshed the further their adventure goes on.

“The World’s End” is the darkest of the Cornetto trilogy, a trio of films that began with the zombie apocalypse and continues with a cult committing murders. Beyond featuring the end of the world, the film addresses death, suicide, irrelevance, depression, divorce, and drug and alcohol dependence. A reoccurring theme throughout the Cornetto Trilogy has been arrested development: Men who still think and act like boys. Coming long after the man-child has entered the comedic lexicon, “The World’s End” shows the souring of the archetype. Gary King is funny and fun to be around. He’s also a screw-up, a drug addict, a thief, entirely irresponsible, suicidally depressed we discover, and hopelessly stuck in the past. Recovering his friends is a rough road because he burned all those bridges years ago. We laugh at Gary’s antics but, odds are, we wouldn’t want to actually be his friend.

Each film in the Cornetto Trilogy fits snugly within a pre-existing genre. I was so ready for “The World’s End” to be a throwback to post-apocalyptic flicks, that I was slightly disappointed when it wasn’t. Instead, “The World’s End” homages British sci-fi of the fifties and sixties. John Wyndham and “Invasion of the Body Snatchers” have been pointed out as influences. The nature of the alien conspiracy recall the Quatermass films. The title may even been taken from an early Doctor Who episode. Mostly, the idea of alien robots replacing people, in a bid to take over the world, is inspired by the creeping paranoia of these films. For the record, Wright still throws in a little bit of post-apocalyptic action at the very end.

“The World’s End” benefits greatly from Wright’s typically layered script. The events of the present pub crawl mirror the one Gary and his friends went on in the eighties. Both feature an important “bump” in a bathroom. Another character exits the crawl during the same times. Moreover, the accurately British names of the pubs reflect the events that happen in them. The Famous Cock is where Gary is banned, for his cockish behavior. While at the Mermaid, the men are seduced by villainous females. A scrambling, chaotic fight happens inside the Beehive. A vehicle drives through the walls of The Hole in the Wall. One guess what happens at the World’s End. A reoccurring joke about the Three (Or is it Five?) Musketeers pays off nicely. Once again, Wright’s clever love of foreshadowing only becomes visible on a second viewing. The recurrences, callbacks, and call-forwards make the film a delightfully rich viewing experience.

Discussion of the man-child trope isn’t the only thing that has escalated as the trilogy went on. The action has gotten bigger too. It’s evident that Wright has applied the lessons he learned from “Scot Pilgrim vs. the World” to his British films. “The World’s End” is an explosively energetic action flick. From the first scuffle on, the movie is full of balletic fight scenes. The action begins when Simon dive-bombs a robot into a urinal, taking its head off. This explodes into a frantic battle, which features bisection via sink, machines being pile-drived onto knees and receiving atomic elbows to the head. A fight with two twins gets weird when the one blank replaces its arms with a pair of legs. The fight inside the Beehive is the action highlight of the film. Nick Frost grabs two stools, using them as tonfas, bashing Blanks’ heads in and tossing them around the room. Drunk middle-age men diving, kicking, and grappling like expert martial artist would probably push disbelief in a lesser film. The humor and kinetic energy of “The World’s End” allows the viewer to overlook this.

The zombies in “Shaun of the Dead” and the Sanford Neighborhood Watch in “Hot Fuzz” didn’t allow for much personality. The shambling hordes of undead and hooded assassins naturally wouldn’t. In “The World’s End,” Edgar Wright gets to create a more personable collection of baddies. The Blanks are an interesting variation on the killer robot idea. When wanting to intimidate their enemies, their eyes and mouth emit a blue light. After being knocked to the ground, they slither upward at odd angles. Their movements aren’t quite human, creating a disquieting affect. Their blue, ink-like blood splatters fantastically during the action sequences. Their heads tends to shatter like porcelain, when they aren’t popping off like bottle caps. They seem designed to make an impression on viewers while also coming apart spectacularly during fight scenes. For shits and giggles, Wright throws in a traditional robot too, in the form of an angular piece of modern art that comes to life.

In “Shaun of the Dead” and “Hot Fuzz,” Simon Pegg played the more responsible man while Nick Frost played his slovenly, child-like best friend. “The World’s End” switches this around. Frost’s Andy holds down a nice job and has a seemingly steady marriage. Alcohol hasn’t touched his lips in two decades. Pegg’s Gary, meanwhile, never let go of his partying lifestyle. His tendency to imbibed frequently has made his life a mess. Moreover, “The World’s End” breaks up the unshakable Pegg/Frost friendship. The two characters are not on good terms at the beginning. Andy is unwilling to forgive Gary for a life-threatening mistake years ago. He only goes along on the pub crawl out of pity. Casting both actors against type is a nice move. As Gary’s carefree and confident personality start to crack apart, Pegg plums pathetic depths fantastically. Frost, meanwhile, is excellently employed as the comedic straight man who becomes more free-willing the drunker he gets.

Gary and Andy are only the two most important members of the gang. The rest of the squad are filled out with impressive talent. Martin Freeman, graduating from the cameos he had in the previous two films, makes the most noticeable contribution as Oliver “O-Man” Chamberlain. Oliver is the member of the group who seems the least willing to put up with Gary’s bullshit. Freeman’s exquisitely dry wit and skill at insincere glad-handing really come in handy. Paddy Considine has some of the most fun as Steven Price. Likewise, Steven is frosty towards Gary. However, he gets in the fun mood awfully quickly. Once intoxicated, he’s one of the most entertaining members of the group. As a kid, Peter Page was the awkward, bullied member of the group. As an adult, he’s still at the whims of his rich dad and has a fidgety, uncomfortable appearance. Eddie Marsan captures this very well and watching him cut loose as the night goes on is especially entertaining.

A supply of talented names round out the supporting cast. Rosamund Pike plays the lone woman along for at least part of the trip. Pike’s Sam is positioned as a love interest between Gary and Steven, not really being that interested in either of them. How this plays out, and Pike’s interaction with Pegg, are amusing. Pike’s delivery of a series of lines about the boy she crushed on in high school are nicely delivered. The film makes good use of David Bradley – the guy from “Harry Potter,” not the B-list action hero – as Basil, the town eccentric. Bradley’s odd looks and great crazy eyes make him an ideal choice for the part. Pierce Brosnan shows up as the voice of reason for the Blank invasion, formerly the boy’s “cool” teacher. Brosnan’s coldly logical voice is used well. (It’s a shame there wasn’t a former James Bond in “Shaun of the Dead.” Edgar Wright could have had a theme going.) Speaking of voices, one of the best small parts in the film is only a voice. Bill Nighy voices the leader of the Blanks, represented as only a fluttering set of lines. Nighy’s voice has the regal, superior quality you’d expect from an alien leader. His increasing bafflement with the human heroes provides some great comedy.

“The World’s End” is really funny. Wright’s dialogue is as quick and humorous as ever. Early discussions about houses, drug slang words, and who wrote the Bible stick in my mind. Like the rest of the Cornetto Trilogy, the film is not only a riotous comedy and an energetic action flick. In its last act, the movie reaches a surprisingly affecting level of emotion. The rest of the group seemingly whittled away, Gary and Andy have a confrontation in the last bar. The details of Gary’s life are shown, as well as the current status of Andy’s marriage. The emotion in both actor’s performances is stunning. This moment is the key to the film’s big sloppy heart. Gary holds onto his teenage years because his life hasn’t gotten any better since then. There’s a desperation to his nostalgia. The entire story is a panicked attempt to hold onto his childhood. The confrontation between the two characters reveals the film as a very sad, very human story.

Another theme in “The World’s End” is about the strangeness of returning to your home town after being away for years. Seeing chain restaurants and businesses leaking into a formally isolated small town must be startling for anyone who has been away a while. The script refers to this as “Starbucking,” which is evident when the characters notice that all the pubs look the same. This may be the result of an alien plot but it’s a very human emotion. The Network’s desire to reduce everything to something same-y and boring seems to represent the world’s crushing desire for conformity and mediocrity. Even though he’s a screw-up, Gary King becomes an unlikely symbol of human individuality. He refuses to conform, to accept the Network’s ideal society. It’s notable that the hero doesn’t bring down the evil extraterrestrial plot with kung-fu or explosions. Instead, a bracing monologue about people’s right to chose, even if they choose to fuck up, defeats the Network’s inhuman utopia. It’s an impressive blending of the film’s plot and its’ themes, pulled off in an eccentric and funny manner.

Which entry in the Cornetto Trilogy you like best depends entirely on taste. My favorite will always be “Shaun of the Dead.” One friend of mine loves “Hot Fuzz” the most while another most prefers “The World’s End.” They are all excellent, hilarious and fantastically constructed. Each strive for greater things beyond making their audience chuckle. Each are smart subversions of established genres. “The World’s End” may be the most mature of the three, darker and more introspective then the proceeding chapters. Yet it doesn’t sacrifice the fun or the laughs either. Don’t be shocked if, in time, this trilogy is held in similarly high regards to other beloved three part stories. [Grade: A]

It didn't take long for Edgar Wright to recover from the "Ant-Man" fall-out. Not long afterwards, he announced his next film, "Baby Driver." A crime film starring the kid from "The Fault in Our Stars," that one is set for 2017. Wright is also attached to "Grasshopper Jungle," an off-beat sounding YA adaptation, and "Collider," a mysterious sci-fi project. (I haven't heard any news about that Johnny Depp-starring reboot of "Kolchak: The Night Stalker" in a while though. That probably shouldn't be made anyway.) Whatever he does in the future, it's apparent Wright is someone I'm a big fan of. If any of his future projects are even a quarter as good as his last four films, they'll still be great.

Director Report Card: Edgar Wright (2007)

3. Hot Fuzz

“Shaun of the Dead” probably seemed like a hard act to follow. As soon as a few years after its’ released, it already had the reputation of a classic. The film turned a whole generation onto British comedy. It cemented the careers of Simon Pegg and Nick Frost, as the defining comedic duo of their day. The film appointed Edgar Wright as the logical, albeit comedic, heir to Quentin Tarantino's film nerd god status. More impressive then all of that is Wright and his team doing it again. “Hot Fuzz,” the second chapter of the so-called Cornetto Trilogy and Wright’s second proper film, is as good as the first.

Constable Nicolas Angel is the best cop in London. He’s an expert in multiple fields and has an arrest record beyond reproach. He’s so good that he makes the rest of the department look bad. Thus his bosses promote him to Sergent before shipping him off to Sandford, a delightful little town in the country. The serious Angel bristles against the light-hearted local cops while finding the town devoid of anything to do. Even his budding friendship with Danny Butterman, the police chief’s jolly son, doesn't do much to sate his boredom. That is until he notices the large number of fatal “accidents” in Sandford and begins to suspect they may not be so accidental.

“Shaun of the Dead” earned the good will of horror nerds via its multiple references to older films. Yet the movie wasn’t build around those references, instead using them to build a universe. “Hot Fuzz” does something similar with action cinema. Danny is a devout fan of action movies. He repeatedly references “Point Break” and “Bad Boys 2.” While standing in the supermarket, he thumbs over DVDs of “Silent Rage” and “Supercop.” The movie doesn’t just throw these references out there. Danny’s love of action cinema informs his entire world. At first, Nick is dismissive of this, even annoyed by it. Before the end, another cheap wrack of action flicks inspires him to save the day. He’s a full convert to the church of action movie violence. Just as “Shaun of the Dead” made a movie about growing up while making a case for immaturity, “Hot Fuzz” both deconstructs and embraces the rules of the cop movie genre.

And how does it deconstruct the rules of the genre? At film’s beginning, Nick Angel is as by-the-book as any movie cop has ever been. He frequently quotes the revised police rule book. He drags a crowd of underage drinkers out of a bar. He observes everything he sees through the lens of a police officer. He’s the exact opposite of a renegade cop. He defuses every one of Danny’s enthusiastic shouts of silliness. The movie subverts expectations in other ways. “Hot Fuzz” features maybe the shortest car chase in film history, shot in an extravagant fashion but lasting seconds. Lastly, the movie puts more attention on the mountains of paper work other action films gloss over. Repeatedly, the characters are seen filing out forms and writing up incident reports.

One of my favorite things to point out about buddy cop movies is how fucking gay they are. After all, the entire genre is built around two guys falling in love with each other. This is in addition to all the sweaty machismo that usually characterizes eighties action flicks. “Hot Fuzz” joyfully acknowledges this. Like Murtaugh and Riggs before him, Nick Angel and Danny Butterman don’t care for each other much at first. Danny finds Nick stiff. Nick finds Danny childish. Soon though, they are bonding. They visit the pub together, drinking up, discussing their lives. They watch movies together, probing one another’s minds more. Soon, Nick is buying Danny a plant. In the earliest drafts, Angel had a female love interest. In revised scripts, Danny was given most of this woman’s lines. By the end, the two are full-blooded brothers, if not something more. The goofball acceptance of the subtext even extends to Simon Pegg and Nick Frost’s video blogs.

With “Shaun of the Dead,” Edgar Wright certainly proved that he was a horror movie fan. “Hot Fuzz” tackles a different genre, the action flick. And while there’s a broad cross-over between fans of both forms – such as myself – they’re quite different. Intentionally or not, some horror elements wound up sneaking into “Hot Fuzz” anyway. The machinations of the conspiracy manifest in some surprisingly gory murder sequences. Decapitation by axe is carried out by a hooded figure. Soon, the victim’s heads are proudly displayed. The same hooded assailant stabs a pair of garden shears into a woman’s throat, blood spraying on a window. The goriest bit in “Hot Fuzz” involves a rooftop spire pushed onto a man’s head, his brains splattering spectacularly. By the end, the conspiracy is revealed to be cult-like in its intensity, the hooded people meeting in a spooky church lot. The movie peppers a few references to British horror flicks throughout, mostly by casting “The Wicker Man’s” Edward Woodward in a prominent role. Weirdly, these elements mash up nicely with the action bits too.

Edgar Wright’s quick-cuts, crash-zooms, and hyper-active style enlivened “Shaun of the Dead” as much as its razor-sharp screenplay did. Wright’s direction has only become more kinetic since then. “Hot Fuzz” is, in a half-joking manner, influenced by the films of Michael Bay. Wright takes Bay’s overheated theatrics and makes art out of them. The washed-out colors appear in visual digressions, like when perps have their mug-shots taken. The loop-da-loop shot appears in one key moment. The shaky action scenes are isolated to small scenes and more centered then they ever are in Bay’s flicks. Beyond these shout-outs, Wright’s comedic direction is stronger then ever. Quick-cuts and hilarious zooms are employed, like when a man drunkenly stumbles home or when Angel goes about his business.

One of the reasons “Shaun of the Dead” has developed such a passionate following, so quickly, is because the film prospers so much from re-watches. A second, or third or twentieth, viewing reveals cute call-backs, repeated jokes, and clever foreshadowing. “Hot Fuzz’” screenplay is equally layered. Events that are referenced in passing become important later, such as a swan, a packet of ketchup, or a miniature village. Small exchanges of dialogue, like “Shit just got real” or “Hag!,” are revisited. Jokes are set up hours in advance, such as a joyful references to “Straw Dogs” or an old man’s coat. The movie even foreshadows its own ending, when a carnival barker reveals the entire last act with a small line of dialogue. Ridiculous detailing is what makes “Hot Fuzz” such an infectiously entertaining flick.

“Hot Fuzz” builds on Simon Pegg and Nick Frost’s chemistry even more fantastically then “Shaun of the Dead” did. Hard-ass Nick Angel is very different then Shaun. He’s in his head a lot, starring intensely. He gestures wildly multiple. Pegg even gets to affect an Eastwood-esque growl at times. Amazingly, the goofy, affable actor easily resembles bad ass several times throughout the film. Nick Frost is even more cuddly as Danny Butterman than he was as Ed. In truth, Danny has none of Ed’s rough edges. Instead, Butterman is a lovable nerd, goofy and child-like. The natural chemistry the real life friends have carries large portions of the film.

“Hot Fuzz” also packs its supporting cast full of notable names. Just for one, it casts three of the biggest names in British comedies – Bill Nighy, Martin Freeman, and Steve Coogan – in tiny supporting roles. Jim Broadbent probably has the best supporting part as Danny’s outwardly jovial father. Broadbent appears to be all smiles and happiness throughout most of the movie. Yet Broadbent roots his performances in some real pain, as the character reveals the reasons for his actions. Broadbent has the best arc but Timothy Dalton has the most fun. Dalton mugs fantastically throughout, making small lines drip with villainous intent. There’s no doubt the former Bond is amazingly entertaining. The movie even slips in smaller roles for the likes of Billie Whitelaw and Paul Freeman.

“Hot Fuzz” successfully has its cake and eats it too. The movie is both a hilarious parody of over-the-top action flicks and a pretty damn good over-the-top action flick. For the finale, Nick Angel rides into town on horse-back, tons of guns on his back. Shoot-outs emerge spontaneously. Guns are revealed in baskets and up sleeves. Bikes flip through the air, shotguns go off suddenly, and toes are severed. Hilariously, two guns are fire whilst jumping through the air. A bear trap comes into play nicely. Sparks fly in slow motion while a chandelier is shot down. Even a scuffle in a shopping market is packed full of huge action. The bigger-than-life theatrics become literal with the final fist fight in a miniature town. Throughout all the chaos, “Hot Fuzz” keeps it's sense of humor. My favorite tiny joke involves Danny shouting “Bang! Bang!” while actually firing a gun. When a final act begins with a machine gun wielding old lady receiving a flying kick to the face, you know things are going to get good.

“Hot Fuzz” is so well put together, even it’s sound design is funny. A notable moment has a character releasing an inexplicable lion roar in a moment of fury. The dramatic swipes, cuts, and lunges are emphasizes with exaggerated noises. The soundtrack is aces too. “Village Green” by the Kinks is used perfectly while setting up Sandford and so is Arthur Brown’s iconic “Fire” in a smaller moment. “Here Comes the Fuzz,” an original piece composed by Jon Spencer, roars any time someone is booked. All in all, it’s awesome stuff.

It’s hard to say which entry in the Cornetto Trilogy is my favorite. It’s tempting to say their all equally good. When I first saw “Hot Fuzz,” I was mildly disappointed in it, feeling “Shaun of the Dead” is better. Multiple rewatches have proven to me that the cop movie riff is just as brilliant as the zombie movie riff. The humor is cutting-edge and perfectly balanced. The leading men are fantastic. The action is amazingly amusing. There’s just so much to love here. “Hot Fuzz” is pure entertainment from beginning to end. [Grade: A]

Director Report Card: Edgar Wright (2004)

2. Shaun of the Dead

“Shaun of the Dead” is a film that seemingly came out of nowhere. Over here in the states, Edgar Wright, Simon Pegg, and Nick Frost weren’t names that meant much. When the film was released, it immediately garnered a following. Fans loved its quick-witted humor, lovable cast, and fast but focused pacing. A decade after the fact, it’s impressive to realize how much of an influence “Shaun of the Dead” had. Aside from really launching the careers of many involved, it contributed to the ever-rising popularity of the zombie movie while launching something like a genre of its own: The zom-rom-com. Even more impressive, the film is just as funny and fresh now as it was when first released.

Shaun is something of a non-starter. He still lives with his college roommates, the slacker Ed and the more professional Pete. He has a go-nowhere job in an electronics store. He spends most of his nights at the local pub, the Winchester. His girlfriend, Liz, is beginning to grow restless. She doesn’t see the relationship going much anywhere either. The personal sturm-und-drang of Shaun’s life is interrupted by the sudden outbreak of a zombie virus. The living dead tear through the city, forcing Shaun to get his shit together if he wants to survive.

“Shaun of the Dead” immediately won over hardcore horror fans by peppering references to the genre’s history throughout its run time. The place Shaun works at is called “Foree’s,” which also employs someone named Ash. There’s a restaurant named “Fulci’s.” The movie verbally quotes “Night of the Living Dead,” “Evil Dead,” and “Reservoir Dogs” while visually quoting “Day of the Dead” and “An American Werewolf in London.” The movie even takes a brief pot-shot at “28 Days Later,” the film responsible for revitalizing interest in zombies. Yet Wright’s pop culture callbacks are never in service of themselves. They populate the film’s universe, adding layers and personality. People with interest, ideas, and hobbies live in this world.

Aside from helping re-popularize zombie movies, “Shaun of the Dead” also came out around the same time as another significant film movement. The next year, “The 40 Year Old Virgin” was released, beginning a wave of films about arrested man-children, struggling to discover a late maturity. “Shaun of the Dead” fits into this mold as well. Shaun is a slacker, still acting like a college student despite nearly being thirty. His job isn’t worth much, his goals are unclear, his friends are childish, and he can’t hold a plan together. The zombie apocalypse gives him a chance to realize his potential. However, Wright approaches the material from a different perspective. Shaun’s immaturity helps save the day a few times. His ideas occasionally work and his relationships are shown to be meaningful. Holding onto that immaturity, a bit of it anyway, isn’t shown to be a bad thing.

“Shaun of the Dead” is also a fantastic buddy movie. Shaun and Ed share a deep bond. They’re as much like brothers as they are best friends. Ed is slovenly, no doubt. He’s introduced swearing, loudly hunched over a Pachinko machine. He’s usually seen drinking beer or smoking pot. He’s generally dismissive of other people and doesn’t hesitate to tell them. He’s not above fart jokes or stealing a car in the name of a good time. His shenanigans get the group in trouble a few times. Whipping out a cell phone while surrounded by zombies, or turning on said Pachinko machine while trying to avoid attention, are bad ideas. Yet Shaun and Ed depend on each other. When Shaun is down in the dumps, Ed can immediately cheer him up. After a night in the bar, they spill into the streets, singing songs and goofing around. The friends come to blows, Shaun frustrated with Ed’s behavior. Yet as Queen sings over the end credits, they’re best friends. Their bond informs the entire movie. As they bid tearful farewells at the end, it’s obvious that they do love each other.

Though you could spot slivers of it in “A Fistful of Fingers,” “Shaun of the Dead” is where Edgar Wright’s directorial style truly came into focus. Wright’s method of shooting can best be described as razor-sharp. For example, how about the scene where Shaun quickly prepares for work? The camera cuts between the toilet flushing, him clipping his name tag on, brushing his teeth, and grabbing his keys. The quick cuts are humorous and also established a breezy, energetic tone. Wright’s style throughout the film is invigorating. During an action scene, the camera follows the barrel of a rifle, putting the audience right in the moment. The camera frequently approaches the action from a dynamic angle. Much of the film’s humor and excitement come from how it's shot.

Something that makes “Shaun of the Dead” so endlessly re-watchable is its beautifully constructed screenplay. The film constantly circles back on its own ideas, building upon them with each new viewing. After Liz breaks Shaun’s heart, Ed lays out the next day’s play. Cleverly, these mirror the later events of the film. Ed’s references to beginning the day by drinking a Bloody Mary is mirrored by the zombie woman, named Mary, appearing in their backyard. The commands given for a video game are later echoed in the Winchester, when Ed is helping Shaun aim the rifle. A seemingly normal walk to a shop is repeated the next day, after the zombies are unleashed. Many of the same things happen but in an entirely different context. The eventual fates of many characters are foreshadowed by their names and small lines of dialogue. All of this shows how Wright, Pegg, and their team beautifully, perfectly planned out the script and story.

The film is frequently hilarious too. Right from the beginning, Wright shows a strength for quick-witted dialogue. The barbs traded between Shaun and Ed are usually funny. The characters’ have such a natural rapport, full of in-jokes and half understood references. In other words, they talk like long time friends do. Yet the film piles on memorable sight gags too. An angry Pete’s onslaught of profanity is humorous. Ed and Shaun utilizing a collection of vinyl records, deciding on the fly which to keep and which to literally toss, is a winning gag that was heavily featured in the trailer. The gang has to impersonate undead behavior in order to cross a street full of zombies. Before that, we get a hilarious run-down of their acting abilities. Some of the biggest laughs in the film come during a showdown in the Winchester with an errant flesh-eater. Featuring the best use of a Queen song since “Wayne’s World,” the scene is energetic and full of laughs. The same could be said of the whole movie.

So much of the appeal of the zombie genre is tied to its traditionally outrageous gore. After all, we are talking about rotting ghouls that tear people apart and eat them. While “Shaun of the Dead” is never quite scary, the film understands this connection. A zombie stumbles backwards onto a pipe, tearing a hole in her chest. Afterwards, one has his head bashed in with a glass ash tray. Later, another zombie is impaled against a fence with a metal pole. After being run over, another zombie twitches on the road, slowly pulling himself back to life. In the last half, the gore is ramped way up. Brains are blown out. Someone is torn limp from limp, before his intestines are wrenched from his body. Even when throwing blood and gore around, the film maintains its sense of humor. Such as the dramatic cut between Shaun and Ed beating on a pair of zombies… To Ed on the couch, peacefully enjoying an ice cream cone.

The film isn’t afraid to explore different tones. “Shaun of the Dead” can be surprisingly sad at times. The antagonistic relationship Shaun has with his stepdad is mostly played for laughs. Such as the repeated references to being chased with "a bit of wood,” Shaun’s clumsy attempts to frame Phil for child molestation, or Phil maintaining his sense of humor even while zombiefied. Yet Philip’s death scene undeniably generates pathos, as he admits to Shaun that he tried his best to be a father. Later, the film reaches an even more devastating point. Shaun’s mother, who is easily the kindest character in the film, receives a heartbreaking death scene. Suddenly zombified, the cast has to quickly decide whether or not they can kill her, to protect themselves. Lastly, the parting between Shaun and Ed is likely to generate tears as well. The movie reprises a fart joke, of all things, from earlier and gifts it with a surprising amount of pathos. The point is “Shaun of the Dead” doesn’t just go for laughs. It’s a richly emotional film, making the audience feel many different things.

“Shaun of the Dead” would only be a quarter lovable as it is without the spectacular cast. Simon Pegg maintains a smart ass wit while making Shaun an easily related too every man. His rapid fire comic skills help deliver the movie’s impressively amusing dialogue. Nick Frost doesn’t back away from Ed’s slobbish behavior while still making him a funny, likable presence. Kate Ashfield is maybe the unappreciated ace up the movie’s sleeve. She keeps up with the boys while also spinning equally funny lines. The supporting cast is full of strong names. David is the practical member of the group, which frequently makes him obnoxious, yet Dylan maintains his humanity. Penelope Wilton is adorable, sweet, but willing to mine her plight for pathos as Barbara. Bill Nighy is incredibly dry as Phil. Only Lucy Davis as Diane seems underdeveloped, being the peppy slice of upbeat energy in the group.

Ultimately, “Shaun of the Dead” subverts the zombie epic as much as it embraces it. In the early half of the movie, the film willingly contrasts the behavior of the living with the behavior of the dead. Many of the people Shaun encounters seem much like zombies even before they’re bitten. The zombies are never devalued as threats. Yet the film recognizes that the blank, hungry face of a zombie can be an ideal straight man. Amusingly, in its final minutes, the movie beautifully defuses the entire idea of the zombie apocalypse. The military marches in, contains the disease, and blasts away any remaining undead. The outbreak doesn’t last more then a day. In the aftermath, the zombies become an every day part of life, operating shopping carts and being the fixture of tabloid television. It’s a brilliantly funny subversion of what we’ve come to expect from the genre.

The film’s status as a modern day classic can be seen in how many other “zom-rom-coms” followed in its path. “Warm Bodies” and “Zombieland” are only the most well-known examples, with scrappier indies like “Dance of the Dead” or “Life After Beth” also appearing. (Not to mention films that blatantly references "Shaun," like "Juan of the Dead.") While some of these movies aren’t bad, none of them have captured the magic of “Shaun of the Dead.” The wonderful cast, hilarious screenplay, playful direction, and genuine sense of emotion combine to make the movie a true masterpiece and an all time favorite among fans. [Grade: A]