Simon Pegg must be having the time of his life – he is truly a testament to fanboys everywhere. Following the seminal nerd-fest Spaced he has scored roles in Doctor Who and Star Trek, and even kick-started the current zombie revival with the excellent Shaun of the Dead. There’s no doubt about it, the Peggster is living the dream. And now he brings us Paul (co-written and starring best-bud Nick Frost), a charming little alien movie that pays great homage to the pop-culture that has so far defined his career – a feature that could make or break this film for you…
Pegg and Frost’s first collaboration away from director Edgar Wright may have left some nervous – was it possible that Wright’s quick-witted eye held the key to their previous success? Rest easy, because Paul is very good. In fact, it’s great. But there is something different about it, though not necessarily for the worse. Paul may be littered with the dry humour of Shaun and Hot Fuzz, it has lost that very British charm that so defined them. Despite this, Paul has found a certain charm of its own, one that is more commonly associated with the Judd Apatow movies. Which is not surprising considering it’s directed by previous Apatow collaborator Greg Mottola.
Apatow regulars are also a welcome addition, with great comic turns from Bill Hader and Joe Lo Truglio. Special nods also go to former Teen Wolf Jason Bateman and Kristen Wiig (whose piss-poor profanity is a tit-farting blast). All this combined with the talents of Pegg and Frost make for a very funny film – great dialogue and slapstick are rife here, but the shift towards a more Americanized brand of comedy may be of annoyance for some viewers. If this style is not your thing, then Paul may not be for you.
The main draw (and indeed focus) of the movie is Paul himself, the titular extra-terrestrial whose bid to return home forms the spine of the story. Brilliantly voiced by Hollywood golden boy Seth Rogen, Paul is an amalgamation of alien types from movies past. He is also completely fresh and original – a quick-witted, foul-mouthed, chain-smoking revelation. And the CG work is up to scratch, rarely breaking the illusion that the little green man is for real. Whether Paul will stand the test of time – as CG rarely does – is yet to be seen.
Overall, there are few negatives to speak of, though the plot of the movie feels to be one of its weakest aspects. As uber-nerds Graeme and Clive attempt to safely smuggle Paul to his intergalactic pick-up, the story moves along generically, and many of the plot-points are easily telegraphed in you are well versed in the language of film – something more typical of the Hollywood style Pegg and Frost have adopted here. However, the sharp dialogue, endearing characters, and movie references carry the film regardless. Ah yes, before we forget, those movie references…
Paul is absolutely stocked to the gills with in-jokes, parody, and homage. In fact, on second glance it could be seen purely as a combination of many movies that have come before it. It features borrowed lines of dialogue, sly use of soundtracks, familiar locations, self-aware cameos, and references to films you may have forgotten even existed (hello there, Mac and Me). In addition to that, there are so many Spielberg nods they could form the basis of a particularly destructive drinking game. Though this kind of in-jokery was a prominent part of Shaun, Hot Fuzz, and Spaced, its far more blatant here than in the previous movies, and Paul is aimed at a far broader audience than Spaced. For those of you in the know, the constant referencing of previous films will be an absolute delight – for those who aren’t, it may prove a problem in understanding the movie fully. For instance, many of the biggest laughs are dependent on a good knowledge of film trivia, and casual cinemagoers may miss the joke.
But let’s not get too bogged down with these points – Paul is, after all, rollicking good fun. It’s a movie that hits all the right notes for us fanboys, and the undoubted comic credentials of those involved should be enough for anyone to enjoy on some level. It’s also good to see British sweethearts Pegg and Frost succeeding in the US market, drawing a spotlight onto the brilliance of their previous work and other British comedies. Special mention should also go to Greg Mottola, who has done a fine job directing in the absence of usual collaborator Edgar Wright.
Here’s hoping that Pegg and Frost can continue this trend, building on previous successes, adapting and developing themselves, keeping things fresh whilst staying true to what makes them so special. Let’s hope that Pegg can continue to live the dream some more.
