Stop with all the spoof talk, already. The latest masterpiece from Brit wits Edgar Wright and Simon Pegg, the spectacularly anarchic action buddy cop caper Hot Fuzz is more than just a simple-minded lampoon. Such a categorization limits what the amazing movie manages to achieve, bringing it down to a level of creative crassness that the duo manage to transcend time and time again. The truth is, Wright and Pegg have much larger funny business fish to fry than merely taking on the Bruckheimer/Bay gonzo gunplay dynamic. There is more to their satire than flying bullets, fisticuffs and testosterone-laced fireworks. No, this exceptionally talented duo is out to undermine their very own Englishness, to poke fun at a country that still views itself as a bastion of good manners and inbred etiquette.
The storyline is fairly straightforward. Sgt. Nicholas Angel is so good at his job, that his London superiors send him off into a sort of reputation saving exile. Soon lost among the citizens of this out of the way country village, Angel finds himself surrounded by a group of bumbling, doltish deputies. Lead by the impeccably optimistic Inspector Butterman, this subpar stable of inert officers features a bizarre assortment of dimwitted detectives, clueless constables and one particularly oafish officer, Butterman’s bulky son Danny. When it looks like murder may have finally found this tiny burg, Angel is eager for some action. But the local constituency doesn’t believe that such big city crime would visit their town. After all, it’s so calm, peaceful and well mannered –- almost suspiciously so. Of course, dark secrets lurk under such serene settings, and Angel and Danny are out to discover the truth.
When we first see police officer Nicholas Angel (in the person of Pegg), he seems rather cartoonish, almost incapable of becoming a three dimensional character. The many montages used by director Wright to instill the proper authority and focus to the man’s personality become part of a plan. Indeed, all throughout the film, Angel is a symbol that slowly becomes a human. As each layer is carefully peeled back, as we learn why the man is so dedicated to the law and so convinced of his perspective on crime, we begin the process of deconstructing this cinematic champion. Pegg is flawless in the role, doing his best to hide the utter contempt he has for the rest of his fellow policemen while always playing every situation by the book. It’s a brilliant turn in an equally remarkable story.
Similarly, Pegg/Wright regular Nick Frost is an excellent example of the audience stand-in, the inexperienced commoner who only knows the law based on what he’s seen on TV and in movies. He’s not just a flawless foil for Pegg’s procedural prig, but he makes a solid case for himself as a well-meaning copper. Frost may come across as a bumbling klutz, his size instantly giving him the standard jolly fat man vibe, but this is an actor of unlimited skill. All throughout Hot Fuzz, Frost is the face of honesty and truth inside a wonky world of mysterious deaths, countryside conspiracies, and more than a little semi-erotic male bonding. Indeed, when placed alongside Pegg, the pair manage the same filmic feat as they did in Shaun of the Dead –- they create a cinematic figure that you want to champion and root for.
As for the story –- a strange kind of Stepford Wives weirdness going on in the little out of the way alcove of Sandford –- we really don’t make much of it at first. We assume the series of eccentric ‘accidents’ (all of which are realized in a nicely nasty helping of gore) will have a rational explanation, or perhaps just a reason to exist. But since Hot Fuzz isn’t focused on being 100% realistic, at least not plot wise, Wright and Pegg have some over the top fun with their finale. Instead of being a simple case of serial murder, we get healthy doses of civic pride, mass hysteria, crawlspaces loaded with corpses, and a real warping of the whole ‘neighborhood watch’ conceit. It’s kitchen sink comedy at its most uproarious, a movie than makes you laugh consistently, enjoying every moment for its many levels of amusement.
Wright deserves a great deal of credit for combining two of the most misunderstood genres in post-modern moviemaking (comedy and action) into one overwhelmingly inventive and clever combination. Hot Fuzz is willing to do anything for a giggle -– from major malapropism and obvious jokes to little asides and inside digs that only the smartest film fan or trivia expert will understand. He surrounds his leads with several sensational supporting players, UK names like Billie Whitelaw, Edward Woodward, Jim Broadbent and Timothy Dalton. They all add a kind of historical heft to the movie, making the drama seem that much more serious, the wit that much more wicked. Additionally, Wrights got the stuntwork setpiece down pat. Several chase scenes in Hot Fuzz zing with Spielbergian artistry. They play as perfectly planned out and simultaneously caught off the cuff.
If there is a single insignificant flaw in this otherwise outstanding film, a minor facet that could keep audiences from completely connecting with the characters, it’s the very British-ness of the piece. Many outside England won’t understand some of the more biting irony, the sequences where church festivals and local snack shops play backdrop to bigger, more striking social commentary. Indeed, why Sandford would care about the title of Best Village in the UK may seem rather silly to wired Western suburbanites. What’s missing is context, a life or death reason why the town must preserve its perception –- apparently at all costs. It’s an absent ingredient in what is already a heady combination of personalities and pistols.
And there will be others who lament the lack of a love interest here. Even Shaun of the Dead found time in its zombie stomping to give its titular hero a love life. In Hot Fuzz, Angel is seen speaking to his CSI inspector girlfriend (Cate Blanchett in a clever cameo), but once we toss said ex aside, there is not another lady in either his or Frost’s life. It’s as if Sandford doesn’t have an available gal under 50 for either man to make time with (and Police Department trollop Doris Thatcher doesn’t count). Pegg can essay an endearing love struck suitor, and it would have been nice to see him chat up a bird or two while in the line of duty. Frost’s Butterman could also stand with a date. His private stash of action movies is a sad replacement for actual human companionship.
Such quibbles do very little to undermine Hot Fuzz’s power as an entertainment epiphany. In a modern medium which is more than happy to spell everything out in baby step simplicity, where jokes are based in the gross out, not the finely crafted, where acting is often confused with one’s status as an A-list celebrity, this is the kind of film that rekindles the inherent joy of movies. It so effortlessly formed, so wholly its own entity that you consistently find yourself giddy with satisfaction at how good the film makes you feel. In a domain that’s basically forgotten how to satisfy, Hot Fuzz is the very definition of a crowd pleaser. It may be making fun of a hundred varying Tinsel Town conceits, but it takes its desire to delight very, very seriously
// Notes from the Road
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