by Steve Habrat
In 2004, director Edgar Wright, Simon Pegg, and Nick Frost wowed genre audiences everywhere with their fantastic rom-zom-com debut Shaun of the Dead. In 2005, Wright and Pegg had brief cameos in George A. Romero’s 2005 comeback Land of the Dead and in the spring of 2007, Wright, Pegg, and Frost contributed the wonderfully spot-on fake trailer Don’t to Quentin Tarantino and Robert Rodriguez’s Grindhouse, the severely underrated double-feature ode to sleaze pictures of the 70s and 80s. Their hot streak continued just a few short weeks later with the release of the cop-slasher hybrid Hot Fuzz, a zippy, bloody, gory, and flat-out hilarious adrenaline rush that found the guys returning to the big screen in a colossal way. Riffing on Point Break, Bad Boys II, and almost every other action movie that Michael Bay has ever made, Wright and his double-trouble duo then drive this flashing police car straight into the whodunit slasher genre with guns blazing. Brimming with winks and nods to everything they love, Wright once again smartly tells a highly original story that turns Hot Fuzz into a modern day action masterpiece. It also has the world’s funniest swan and a gunfight to end all gunfights, so that is also a plus too.
Nicholas Angel (played by Simon Pegg) is the best police office in London. He is so good at his job that he is starting to make the other officers on the police force look bad. One day, Nicholas is called into a meeting with Chief Inspector Kenneth (played by Bill Nighy), who explains that Nicholas is going to be transferred to the rural town of Sanford, a picturesque community that is devoid of crime. Upon his arrival, Nicholas meets Inspector Frank Butterman (played by Jim Broadbent) and his simple-minded son Danny Butterman (played by Nick Forst). Frank partners up the overachieving Nicholas up with the lackadaisical Danny and sends the duo out to patrol the quiet streets. Everything seems to be going okay until a series of brutal accidents sends a shockwave through the town residents. Convinced that there is more to these accidents than meets the eye, Nicholas and Danny launch an investigation that brings them face to face with a hooded killer. With prominent members of the community dropping like flies, Nicholas and Danny race to put an end to the hooded figure’s killing spree, but the closer they get to catching the murderer, the more secrets that are revealed about the seemingly peaceful town of Sanford.
Bigger and badder than Shaun of the Dead, Hot Fuzz has studied the action manual very hard and it knows what we have come to expect. The aesthetic is sleek and shiny, with even the smallest moments spiffed up to make our eyes pop. Early on, Nicholas arrests a handful of underage teens sipping suds in Sanford’s pub and as Nicholas books them at the station, Wright cuts quickly, pulling off several flashy camera tricks and even speeding up or slowing down the action for maximum effect. It’s absolutely hilarious and a very clever nod to Michael Bay and his insistence on stylizing every little detail. When the action goes boom, we get the typical slow motion shot of the heroes walking away from the fiery destruction in the background. The climax finds Wright including everything from police chases to gritty gun battles, all the way to a final mano-y-mano that ends in a sight gag that is simultaneously horrific and hilarious. Once again, Wright manages to carefully balance out the action side of the story with the whodunit/slasher aspect. The murder mystery is fun and it does make for a few good jump moments that will keep you on your toes. In a way, you are left crossing your fingers that the guys might reunite down the line for a straight up slasher movie. I have a feeling that it might be another home run from Wright.
As if the flashy action and the slasher plotline weren’t enough for one motion picture, Wright pumps in a heartwarming buddy-cop subplot. A good majority of the fun comes from watching Pegg and Frost interact with each other, mostly because they are such polar opposites. In Shaun of the Dead, they were on the same dazed wavelength but in Hot Fuzz, they are like oil in water. Pegg excels at the supercop role, never missing a moment to turn his by-the-books Nicholas into a Buzz Killington. He drags the buzzed youth down to the station even though the local-yokels argue that allowing the boys to have a few brews in a local pub keeps them from causing trouble in the streets. When he reluctantly agrees to hang out with Danny outside of work, he refuses a beer and orders a simple cranberry juice. He bottles up his anger when he is sent to round up a runaway swan, one of the film’s funniest running jokes and he sighs through boredom as Danny invites him to his house to watch Bad Boys II and Point Break. On the other hand, Frost’s Danny is sweet and simple, a guy who really could care less about his day job and would much rather be at home getting lost in a fantasy world of exploding cars, gunfire, and mayhem. You practically cheer for him when he gets the chance to pick up some firepower and join Nicholas on the streets for a good old-fashion shootout and you’ll be doubled over laughing when he gets to act out his favorite scene from Point Break.
As far the supporting players go, Broadbent is a riot as the merry Sanford Police Inspector who pairs up Nicholas and Danny. Bill Nighy is perfectly dry as the Chief Inspector who ships Nicholas off to dead end and Timothy Dalton gives a suave performance as Simon Skinner, a supermarket manager who seems awfully suspicious. Interestingly enough, Cate Blanchett turns up as Janine, Nicholas’s girlfriend in a HAZMAT suit and director Peter Jackson stops by for an appearance as the Santa Claus that attacks Nicholas in the opening credits. If there were anything to nitpick in Hot Fuzz, it would probably have to be the length of the film. With so much happening within the plot, the film does run a bit too long and the climax starts to feel a bit like overkill even if Wright is desperately trying to cram in as many action movie staples as he can. Overall, it is clear that Wright, Pegg, Frost, and nearly every other actor or actress in Hot Fuzz is having a ball and their good time does rub off on the viewer. Wright and Pegg’s screenplay never misses a beat and the laughs blast at the viewer like bullets. You may never be able to look at a swan the same way again.
Hot Fuzz is available on Blu-ray and DVD.
by Steve Habrat
Before the summer of 2003, the zombie genre had largely remained dead and buried. There was a sluggish 1990 remake of Night of the Living Dead here and the final Italian effort Dellamorte Dellamore there, but the zombies seemed content to rest six feet under. In 2002, we caught a glimpse of the undead in the futuristic action-thriller Resident Evil, a film that was unexpectedly fun despite the fact that it was based around a video game and directed by Paul W.S. Anderson. In 2003, zombies—or should I say INFECTED people—came back in a big way. Danny Boyle’s grim indie 28 Days Later re-ignited interest in the apocalyptic subgenre and the craze grew ever stronger with the spring 2004 release of the Dawn of the Dead remake. With the zombie craze re-established, the fall of 2004 saw the release of British director Edgar Wright’s Shaun of the Dead, a written-in-blood loveletter to George A. Romero’s Dead trilogy, some of the early Italian releases like Lucio Fulci’s Zombie, and, yes, Boyle’s gritty reimagining of the genre. Down-to-earth, warm, hilarious, and tense in all the right places, Shaun of the Dead is without question one of the strongest modern zombie movies and it ranks up there as one of the best undead films ever made. Oh, and it also happens to be a romantic comedy, which means your girlfriend might like it too.
Shaun of the Dead introduces us to Shaun (played by Simon Pegg), whose life seems to be stuck in a rut. He works a dead end job as an electronics salesman at Foree Electric, he loathes his stepfather, Phillip (played by Bill Nighy), he constantly quarrels with his roommate, Pete (played by Peter Serafinowicz), over their lazy best friend Ed, who shacks up on their couch and refuses to get a job, and he wants to spend every night sipping pints in a local pub called the Winchester. To make things worse, Shaun is loosing his girlfriend, Liz (played by Kate Ashfield), who wishes that Shaun would do more with his life. After Shaun forgets to book a table at a fancy restaurant for their anniversary, Liz decides to call it quits with Shaun because he just can’t seem to grow up and take on responsibility. Devastated, Shaun and Ed retreat to the Winchester to drown their sorrows in a couple pints and shots, but the next day, the two awake to discover that mankind has been wiped out and the cannibalistic undead roam the streets. Hungover and terrified, Shaun and Ed begin devising a plot to round up Liz, her roommates, David (played by Dylan Moran) and Dianne (played by Lucy Davis), and Shaun’s mother, Barbara (played by Penelope Wilton), in an attempt to show Liz that he is a responsible adult. The plan is to hold up in the Winchester until the whole thing blows over, but as they begin their trek to the pub, they realize that the situation outside is a lot more dangerous than they had anticipated.
The early scenes of Shaun of the Dead are absolutely hilarious and brimming with social commentary. The opening credits find ordinary citizens shuffling through their daily lives with a blank stare frozen on their faces, rooted in monotonous routines. Even Shaun is stuck in a mundane ritual as he shuffles out of bed like a zombie, throws on his work clothes, and sulks obliviously down to the local market where he picks up sodas and ice cream to munch on while he plays video games with Ed. Funny enough, Ed is the one that reminds Shaun that he can’t jump into a game because he has to go to work. Shaun is so blind to his surroundings that when the zombie apocalypse does finally hit, he has absolutely no idea that it is happening until Ed calmly tells him that there’s a girl in their garden. From here on out, the film falls back on the blind leading the blind. Shaun and Ed are clueless over how to deal with the situation they find themselves in. They think that throwing records like Frisbees at the zombies that have stumbled into their back yard (the movie’s best and funniest sequence) is a good idea and they hilariously believe that they will be able to shack up in a pub and sip pints while the undead pound away outside. These early scenes show that Pegg and Wright, who penned the script, both fully understand that Romero’s Dead trilogy had a lot more on its mind that just blood and guts.
While there are plenty of smarts to be found in the depiction of daily life, which clearly Pegg and Wright detest, the film also gets by on some witty references to other zombie movies. Early on we get a nod to Lucio Fulci, Ken Foree, who was the star of Romero’s 1978 classic Dawn of the Dead, a sly nod to the 1984 cosmic zombie movie Night of the Comet, a hilarious spin on the “we’re coming to get you, Barbara” line from Night of the Living Dead, and charming use of Goblin’s score from Dawn of the Dead. There is also a blink-and-you-miss-it tribute to Boyle’s 28 Days Later near the end of the film. While Wright and Pegg are eager to pay tribute to the zombie movie greats, they create a unique offering to the genre. The film is also a hilarious slacker-stoner comedy and a touching romantic comedy that finds us rooting for the romance to rekindle between Liz and Shaun. By the end of the film, Wright has scrubbed away most of the laughs in favor for the typical gut munching and closed-off claustrophobia that made horror fans fall in love with the zombie genre in the first place. The final sequence has powerful emotional blows, a quick visual gag to break the tension, and then a final siege that finds our heroes realistically trying to work their way around a firearm. The scene is all the better because we truly want every single one of these characters to make it out alive, but when the zombies start trying to claw their way in, our stomach twists into knots and we know that won’t happen.
The characters of Shaun of the Dead are all brilliantly written and beautifully played by a handful of very talented British actors. Pegg is a revelation as Shaun, who still gets a belly laugh out of a good fart joke. He shares several touching moments with the stoner Ed, who seems to have grown roots to the couch and super glued an XBOX controller to his fingertips. Ashfield is sweet and tightly wound as Liz, who thinks that there is a lot more out there for her than simply wasting away at the Winchester. Moran is a geeky puke as David, who pines for Liz even though she sees him as just a friend, and Davis tries to be mediator as Dianne. Nighy is stern discipline as Phillip, Shaun’s no-nonsense stepfather who is given one of the most dramatic scenes of the movie. Serafinowicz is wildly unlikable as Pete, Shaun’s fed-up flat mate and Wilton is naïve as Shaun’s lovable mother Barbara. Amazingly, Wright gets us to like even the most detestable characters and he almost drives us to tears when the cannibals seeking human flesh bite a few of them. Overall, Shaun of the Dead dares to take on quite a bit and it could have been crushed under the heavy load it attempts to lift. It is bound and determined to take on several different genres at once and it does it with shocking ease. It is an inventive, poignant, hilarious, and creepy zombie movie that has even earned praise from the zombie godfather himself, George A. Romero. You’ll want to watch this movie again and again.
Shaun of the Dead is available on Blu-ray and DVD.