ByLee Burke, writer at Creators.co

Shaun of the Dead is one of my most adored comedies of all time. I love it for its all charm, wit and over-the-top fun. To me, it emphatically represents an idea and goes head on to showcase its intelligence in the form of simplistic, bittersweet tonal shifts, unlike the majority of what we see in comedy. Hot Fuzz followed suit with its dynamic comedy with that nourished, well-balanced mix between new ideas and utilising elements that previously proved successful to provide an enthralling experience. These first two entries into Edgar Wright’s “Cornetto Trilogy” are respected by others and enjoyed as much as I do, but what remains after the never-ending success is the consideration on how to end the trilogy on a high that doesn’t taint people’s opinions of the prior entries (this unfortunately happened to me with the conclusion of Nolan’s Dark Knight trilogy last year) and yet leaves its audience with a satisfaction, an almost relief that a trilogy is complete.

Thankfully, my immediate worries were soon proved to be unnecessary. As I began The World’s End, I felt that nostalgic craving for comedy that the genre has dearly missed recently in bundles, all of this created due to the way I felt reunited with the film’s talented cast. Since Hot Fuzz many of the cast have gone on to greater success, but they all feel as delightfully entertaining and familiar – even if they are yet again portraying different characters – and it’s fantastic to see. One thing I love about Shaun of the Dead – and there are many – is the way the film utilises thematic decisions, but I've never seen Wright perform it as well as he does here. It’s that quick exchange from a one-liner to a dramatic encounter and back again all in the space of 30 seconds that makes it so impressive to watch, and here you see Pegg delivering these tender sequences with more power and emotion than I’ve come to expect from Pegg even if I am a huge fan.

What makes Shaun of the Dead and Hot Fuzz the greats they are is the consistency they maintain, both examining the film’s premise without comprising it by prolonging it. The World’s End never does this, but it lacks the composure in brief moments where it attempts to concisely show its ambition. This is the only element I can fault it for, though. It doesn't have the amazing range of its predecessors and I’d go as far to say it’s the weakest of the trilogy, but yet that statement seems pointless when considering the immense quality of Shaun of the Dead & Hot Fuzz. The World’s End, for the majority, is an enthralling delight that although may stutter because of its explosive ambition, most notably towards the back end, it remains hilarious even despite these hurdles.

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