The Doctor deals with a girl’s missing father, only to find out that he’s even more lost than she could have imagined.
The Doctor (Jodie Whittaker) and the TARDIS trio of Graham, Yaz, and Ryan (Bradley Walsh, Mandip Gill, Tosin Cole) land in Norway in 2018. They find a cabin nearby that seems abandoned, until they find a blind girl hidden in the house named Hanne (Eleanor Wallwork) who has been terrified by a monster that she hears from the woods. They find out that Hanne’s father Erik (Christian Rubeck) has been missing for a few days. In the attic, they find a mirror that doesn’t reflect people, which the Doctor discovers is a portal to the Anti-zone, the buffer universal material that keeps universes separate. She goes into the portal with Graham and Yaz, while leaving Ryan to watch Hanne.
Inside the portal, they find a terrible alien called “Ribbons of the Seven Stomachs” (Kevin Eldon) who appears to be a scavenger. He tries to trade the Doctor information on Erik in exchange for the sonic, but attempts to backstab her on the way. He is eaten by one of the Anti-Zone’s resident creatures, the Flesh Moths (guess what they eat). Ryan discovers that the “monster” is actually just a speaker system that her father uses to scare her into staying home. He returns to tell Hanne, which she uses as an opportunity to knock him unconscious and follow the group. He wakes up shortly and follows her.
The Doctor, Graham, and Yaz find a mirror copy of Hanne’s home and, inside, Erik. He reveals that he intended to come here because a copy of his deceased wife, Trine (Lisa Stokke), lives there. However, it’s revealed that it can’t be her, because she remembers dying. While the Doctor is still trying to figure out the situation, they run into Graham’s deceased wife Grace (Sharon D. Clarke). Similar to Trine, she remembers dying, insists she knows she isn’t real, but also says that she is real. Graham is tortured by seeing what he knows isn’t his real wife.
The Doctor finally realizes what’s happening: They’re in the Solitract, a sentient universe which was severed from the regular universe because the Solitract interferes with the normal universe’s operations. It set up this “heaven” mirror-world in order to convince people to come to it and stay because it’s lonely. Graham finally manages to accept it and leaves. Erik refuses to leave, but the Doctor tells the Solitract that she’ll stay in his place. Erik is ejected. The mirror universe collapses itself and becomes a white room with a talking frog, the chosen form of the Solitract. However, the Doctor is incompatible with the Solitract, so she leaves, promising to be its friend even if they’re separate. Back in the normal universe, Graham and Ryan finally start to bond over Grace.
I will admit at the beginning of this episode, I thought we were going to hit the final point for me. I thought that this was finally going to be the episode that was just too serious to feel like Doctor Who. See, this entire season, while I have enjoyed it overall has definitely been closer to the original Doctor Who episodes with William Hartnell which, while they were amazing for the time, isn’t quite the feel the show’s had since the reboot. They’re a little more serious, a little less campy, and a little less funny. However, while that’s been refreshing so far (for me at least), it’s bound to hit the point where it just feels not fun enough. With a missing dad, a mysterious monster, and a blind girl, I was about 30 seconds away from going “okay, we’ve hit the wall.” But then the mirror happened and Ryan said what is definitely one of the most “companion” lines ever: “We’d know if we’re vampires, right?” The delivery was flawless and immediately brought me back up a little.
From there, the episode goes through Ribbons and the Anti-Zone, which, if not particularly interesting and probably unnecessary, is at least well-designed and creepy as hell. Next, we get to the Solitract, find out that Erik actually isn’t a great parent, and witness Graham interacting with Grace again, and the episode suddenly has left-turned into super emotional. Bradley Walsh once again gives one hell of a performance as a man who has recently lost the love of his life. Then, we get The Doctor giving one of the better humorous monologues in the season so far when she explains how one of her seven grandmothers told her a fairy tale about the Solitract. The final scenes of Graham and Erik having to give up on their dead wives is another solid emotional scene, which leads into… the Doctor talking to a frog. We end the episode with Ryan finally acknowledging Graham as his grandfather, which, after all the buildup, is a solid tearjerker. Honestly, this episode is all over the place in terms of tone, but the comic scenes are exactly the kind of thing that I felt were missing from the show.
Doctor Who doesn’t have to be comedy sci-fi, of course. Some of the best episodes have horror elements or action, for example, but it always managed to balance that with some solid comic relief. This episode doesn’t quite nail the ratio as well as past ones, but it comes close. In a season filled with much of the darkness in human history, this episode at least was somewhat lighter at points.
Overall, it’s not a bad episode, but it doesn’t have the gravitas of the good episodes of the season. The sequence in the Anti-Zone is basically just filler that amounts to nothing and should have been cut. However, aside from that, this was still pretty enjoyable.
We’re at my favorite. Yes, that’s right, out of the entire Cornetto Trilogy, this one is the one that I will re-watch most. Now, that’s not to say I don’t like the other two immensely, I love the hell out of them, but this is one of the most perfect action movie parodies out there while still being meaningful, intelligent, and freaking hilarious. The World’s Endimpacts me more on a personal level, Shaun of the Dead is funnier to me, but this one struck the balance that I think works best.
Based on feedback, I’m using my new format for movie reviews, so, if you want a full annotated summary of the film, go to the bottom and click the link.
PC Nicholas Angel (Simon Pegg) is removed from the Metropolitan Police Service in London due to being so dedicated to his job that he makes all the other officers look bad. He’s also not particularly social or fun, due to constantly being “on duty,” which doesn’t help. Since firing him would draw attention, they instead promote him to Sergeant and transfer him to Sandford, Gloucestershire, a small village known for being peaceful and quaint.
When he arrives, he is partnered with PC Danny Butterman (Nick Frost), son of Inspector Frank Butterman (Jim Broadbent), the head of the local police service. Danny is a huge fan of action movies and is disappointed that most of police life, according to Angel, is paperwork and regulations. The two eventually start to bond with Danny showing Angel Point Break and Bad Boys II as examples of “proper action,” before finally becoming friends as they investigate cases together.
Meanwhile, a series of murders (shown to the audience but framed to the characters as accidents) start claiming members of the town, leading Angel to suspect there’s a serial killer. He eventually accuses local obviously evil guy Simon Skinner (Timothy Dalton) of killing everyone as part of a real estate scheme, only for it to be revealed that Skinner clearly couldn’t have done it. He then theorizes that Skinner could have done it with help, since he employs much of the town, but Frank dismisses it as paranoia, because murders don’t happen in Sandford.
Nicholas returns to his hotel room, only to be ambushed by Lurch (Rory McCann), Skinner’s supermarket cart boy (trolley if you’re British). Angel fights him off and goes to confront Skinner, only to find out that most of the town, including Frank, are part of a “secret” society, the Neighborhood Watch Alliance. Even crazier, the murders weren’t part of a grand, logical scheme, but just based on thinking the people were annoying or inconvenient to have in the “Village of the Year.”
Danny helps Nicholas escape, but he comes back, armed to the teeth. Together with Danny and, later, the rest of the police force, Angel engages in a shootout that destroys much of the town and ends with everyone in the NWA in jail or dead. At the end of the film, Nicholas and Danny are still partners, now having fun being bad ass on the streets of Sandford.
Part of the reason why this movie is my favorite is… well, I’ll Venn Diagram it.
The first time I saw Shaun of the Dead, it was amazing. The first time I saw The World’s End, it was just good. The second time I saw Shaun of the Dead, it was much the same. The second time I saw The World’s End, it became one of my favorite films. Hot Fuzz started at amazing and moved into epic on repeat viewing.
Part of it is that the foreshadowing in this movie is more subtle and spread-out than in the other films, but, because it’s based on action movie clichés, you really already know what’s going to happen. There’s one sequence where Danny asks Angel about all of the “action” he’s had in London which lists all of the things that are going to happen during the final sequence, including shooting a gun into the air and going “Aaaargh” a la Point Break. There’s another sequence where Angel is identifying potential threats on the street that turns out to be accurate, even though it’s portrayed as being paranoid.
The foreshadowing is also combined with Wright’s wonderful use of recontextualized repetition (apparently the Trope is called Ironic Echoing), with most of the lines in the first act being repeated, or repeated with a slight variation, in the second or third act, including “Get a look at his arse/horse,” which is one of my favorite uses of regional dialect wordplay. Yes, there are others. Probably. The point is, I find the way they compare harmless and dire situations in dialogue to be hilarious. They discuss catching a serial killer and a swan in almost the exact same tone, compare Angel’s initial hazing with his moment of broken spirit, and compare a firefight with solving a crossword. The last one brings me to all of the brick jokes.
A brick joke is when you make a mediocre joke which later turns out to be the set-up for a bigger joke. If you want examples, Arrested Development is filled with them and I even pointed out that Bob Newhart once set-up the joke in one episode and paid it off in another series. This movie, similarly, sets up some goofy lines that later pay off into absolutely ridiculous scenes, ranging from the revelation that there IS an Aaron A. Aaronson living in the village (Angel thought that was a fake name to mock him) and that an armed farmer and his equally armed mother are the first people that Angel takes out when he comes back (having been told that everyone and his mother owns a gun in the countryside). Actually, most of the jokes that are made at Angel’s expense seem to later come true.
Similar to Shaun of the Dead, the movie does a lot of sharp, dramatic cuts accompanied by music to show Angel going through all of the boring parts of police work as opposed to the kind of action sequences that usually are associated with them. While Shaun of the Dead used it to draw comparisons between Shaun’s life and zombies, Hot Fuzz uses it to subvert the usual cop movie trait of ignoring the procedural parts of policework, which reminds us of Angel’s absolute rigidity about his policework. And that brings us to the big theme of the movie.
All three of the Cornetto Trilogy films are about the dangers of perpetual adolescence. In Shaun of the Dead and The World’s End, it’s fairly obvious what the main characters are. Shaun’s given up on really living life and Gary has never done anything with his life. Nicholas Angel, however, is not an unsuccessful police officer, but an absolutely amazing one. He is dedicated to the law to an almost absurd degree and that’s the problem: he’s got nothing in his life except for his job.
It’s a very different kind of immaturity from Shaun or Gary, because Angel is actually doing exactly what he wants to do: Be an amazing police officer. It’s just that, in pursuit of it, he has never learned how to do anything else or have a real connection with any other human. He is just his job, not a real person. In existentialist terms, I guess he’d be avoiding engaged agency (if this is wrong, please correct me, it’s been a while). So, his journey is to discover that there is more to life than just being the thing you thought you wanted to be when you were five. You also have to enjoy life and the movie points out that one of the best ways to do that is to be a little bit less uptight and a little more immature. Having never really been connected to anyone, at the end of the movie, Nicholas actually does have a successful relationship, it’s just not a romantic one.
Just like in Shaun of the Dead and The World’s End, the main character is a reflection of the antagonist (Shaun: Zombies, Gary: Network), in this case the Neighborhood Watch Alliance, who, just as Nicholas is dedicated to policework to his own personal detriment, are dedicated to their cause of being “Village of the Year” to the detriment of the citizens. This is represented best by the fact that Nicholas constantly repeats idealisms like “the law is the law,” while the NWA constantly repeat “the greater good.” Both of these are unforgiving maxims, enforced with no regard to what might be more humane. They even show that most of the people that Nicholas arrested without considering being more lenient are subsequently murdered by the NWA. It’s a great way to highlight the protagonist’s flaws, by showing that a slightly more absurd version of the same flaw would lead to something horrifying. Granted, it’s also that Angel wants to be superlative through hard work and exceptionalism whereas the NWA wants to be superlative by eliminating all which would drag them down (and, for the record, based on how many fatal “accidents” people mention in the movie, they’re doing it more than Murder, She Wrote). Basically, Angel wants to make the trains on time, while the NWA will kill everyone that makes them late.
Similarly, Nicholas has wanted to maintain the same image of himself from when he was five and decided that he wanted to be a police officer. The town, likewise, appears frozen in the past, having a rustic aesthetic, even with an Apple computer from the 90s. They both have tried to maintain the image they had in the past, to the point that they strongly resist anything that would change it.
The music, too, deserves a nod, and it’s always wonderful to watch a director that understands that the soundtrack and the score are a big part of the film experience. Granted, as well as it’s done here, it does pale in comparison to Wright’s song use in Baby Driver and Scott Pilgrim vs. the World. Still, the songs are well used and they tie in thematically, something that adds a lot to the experience.
The movie really does blend style and substance perfectly, an amazing example of exactly what film can do as a medium. It’s not too artistic to be watchable without effort, but the more effort you put into watching it, the more it rewards you. Hell, until the third or fourth watching, I didn’t notice that almost everyone’s name in the village is actually a profession (Skinner, Cooper, Hatcher, Staker, Treacher, Blower, Draper, Wainwright, Cartwright), yet another way to mirror that Angel is just his job, while the fact that they’re all archaic professions reinforces the village’s frozen nature. I imagine the only reason “Butterman” isn’t a profession name is because Nick Frost named the character as a condition of doing the film.
Additionally, the posters in the background change throughout the film, indicating which characters replace the functions of others, or how the NWA is manipulating the population in subtle ways. There’s probably still stuff I’m missing. I even had to have someone point out to me that N.W.A. was also the band that did “Fuck tha Police,” a great hidden joke. Seriously, the amount of effort that must have gone into this movie is mind-boggling.
To summarize, I love this movie. Aside from maybe Ghostbusters, Pulp Fiction, and The Rocky Horror Picture Show, which I watch annually, this is the movie I’ve probably re-watched the most. Since it came on Netflix, I’ve probably watched it half a dozen times just when I want something fun on in the background. I’m glad that Edgar Wright has moved past the Cornetto Trilogy, but these films will always have a special place in my heart.
I’m going to do the rest of his films, but I think I’m going to make a special page just for these three reviews.