Over the past 20 years, Edgar Wright has established himself as one of the most creative comedic directors working today. Wright’s style is easily recognizable — the fast-paced comedy, whipping camera and incredible soundtracks make all his movies extremely entertaining. Though known for comedy, his most recent film “Last Night in Soho” is his first horror flick. If you want to catch up on Wright’s filmography but don’t know where to start, here’s a guide to his most relevant films.
Shaun of the Dead (2004)
“Shaun of the Dead” stars Simon Pegg and Nick Frost as directionless best friends that find themselves in the middle of a zombie invasion. While this is not my favorite work by Wright, the film provides many of his signature comedic marks: fast-paced jokes, silly things happening in the background and endless visual comedy. This film is Wright’s darkest; he does not shy away from the bleak reality of a zombie invasion. Nonetheless, he still gets fantastic comedic mileage. Wright’s ability to parody movies such as “Night of the Living Dead” is also hilarious. In the beginning, the main characters are totally oblivious that their town is being overrun by zombies. What’s holding this film back is that some of the jokes don’t land, and some have aged poorly. Still, if you want a zombie movie parody that manages also to be a great zombie movie in itself, “Shaun of the Dead” is perfect.
Hot Fuzz (2007)
“Hot Fuzz” stars overachieving cop Nicholas Angel (Simon Pegg) reassigned from London to a small English village. While the assignment initially seems boring, a series of deaths lead Angel and irresponsible police officer Danny Butterfield (Nick Frost) down a strange rabbithole. This film parodies buddy-cop and action films, while also being one of the best films in the genre. This movie — even more than his other films — is endlessly rewatchable. This is his closest film to a masterpiece — every detail in the film is vital to a joke later on. Wright never wastes a second, he always has something to laugh at or something to set up a laugh for later. The characters are loveable, and the setting feels lived in. The action is incredible while also being funny, and the camerawork perfectly captures the action movie feel. If you are new to Wright’s work, this is a great place to start.
Scott Pilgrim vs. the World (2010)
“Scott Pilgrim vs. the World” follows Scott Pilgrim (Michael Cera), as he falls in love with the elusive Ramona Flowers (Mary Elizabeth Winstead). The catch? To get with Ramona, he needs to defeat her seven evil exes. This film is based on a graphic novel, and Wright uses this as heavy inspiration for the film’s visual style. Its masterful editing makes the movie look like a comic book — onomatopoeia cover the screen, shots are stitched together to look like comic panels and fight scenes feature exaggerated movements. This is one of the most fun movies ever made: it’s laugh-out-loud funny, there is always something insane happening and the music ties it all together. The movie also features many easter eggs that make it infinitely rewatchable. However, this movie would be perfect if Ramona had more development and didn’t just feel like an objective for Scott Pilgrim. This is Wright at the top of his game, and you should try to watch with a crowd.
The World’s End (2013)
“The World’s End,” Wright’s most recent movie to star Pegg and Frost, follows five friends that reunite in their 40s to complete the legendary “Golden Mile,” a twelve-pub-long crawl. I love how this movie switches up the dynamic between the actors, with Frost now playing the straight man and Pegg as the wildcard. This film is full of energy with so many meticulous yet outrageous shots. The story is hilarious and unpredictable. It manages to make this dumb concept work perfectly, with the screenplay playing into its absurdity. Going into this one knowing as little as possible will make the impact of certain scenes even better. The action here is surprisingly good, especially the bathroom scene. By the end of the film, I was also surprised at how attached I felt to the characters, even more so than his other films. This is the strangest film Wright has directed, but it also manages to be one of his most entertaining and emotionally moving. I would recommend watching this film after some of his others, but even if you don’t, you’ll have a great time watching it.
Baby Driver (2017)
“Baby Driver” is an action-packed crime story about a getaway driver named Baby (Ansel Elgort) attempting to get even with a crime lord. “Baby Driver” is his first non-comedic film, and it is an impressive change of pace. This is some of the best executed action I have ever seen. The story is told from Baby’s perspective, which means the soundtrack incorporates what the main character is listening to. Wright uses this concept to its full potential by making the action scenes sync with the music: guns fire with booming drums, bodies slam with the beat, etc. This film features colorful characters, an engaging story and complicated visuals. Despite how great this film is on a technical level, this is my least favorite from Wright. Emotionally, this film is lacking. The relationship between Baby and Deborah (Lily James) — the love story central to the plot — feels rushed and forced. By the end of the film I thought about how impressive the film is and I felt nothing. Wright sometimes has this tendency, but normally the strength of the comedy compensates. Here, considering this is an action-packed crime drama, nothing distracts me from the lack of emotion. Still, if you want a great popcorn-action film, little will awe you more than “Baby Driver.”
When you’re done with these great films, make sure to catch “Last Night in Soho” in theaters now.
Edited by Lucy Valeski | lvaleski@themaneater.com
