Absolutely Anything

A spoiler light review of Absolutely Anything should begin with tone, because Terry Jones understands exactly how this comedy ought to feel. Absolutely Anything gains early credibility from Simon Pegg, whose presence is balanced by the different rhythm of Kate Beckinsale. The foundation of Absolutely Anything can be stated simply: A group of eccentric aliens confers a human being with the power to do absolutely anything, as an experiment. Within its 1h 25m running time, Absolutely Anything reveals both the benefits and the limits of that disciplined approach.

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Rather than summarise every event in Absolutely Anything, it is enough to note how the central character places an important relationship under growing pressure. Simon Pegg gives that tension a face, which stops Absolutely Anything from becoming a mechanical sequence of developments. Terry Jones uses a difficult choice to widen the stakes of Absolutely Anything without losing sight of the original problem. Where the wider conflict becomes predictable, Absolutely Anything recovers interest through the consequences surrounding it.

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The directorial personality of Absolutely Anything comes from Terry Jones remaining uncertain about tone and dramatic emphasis when the premise invites excess. Within Absolutely Anything, Terry Jones repeatedly favours readable choices over attention seeking flourishes. That discipline explains why isolated moments suggest a more compelling version in Absolutely Anything rather than appearing only in isolated scenes. Where Absolutely Anything becomes less convincing, events happen without gathering enough dramatic force, and the loss of control is noticeable without becoming fatal.

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The thematic thread that gives Absolutely Anything weight is embarrassment, status and the gap between confidence and reality. Simon Pegg grounds that thread so Absolutely Anything never has to choose completely between entertainment and reflection. A recurring focus on an important relationship gives the ideas in Absolutely Anything enough dramatic pressure to matter. Under Terry Jones, Absolutely Anything works best when viewers are invited to notice the theme before any character explains it.

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Performance is the clearest human asset in Absolutely Anything, beginning with the committed centre provided by Simon Pegg. Kate Beckinsale keeps Absolutely Anything from settling into one emotional register by approaching the material from another angle. The presence of Sanjeev Bhaskar gives the surrounding world of Absolutely Anything additional texture without distracting from the main line. When Terry Jones holds on a reaction, Absolutely Anything communicates more efficiently than another explanatory exchange could manage.

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A close look at Absolutely Anything reveals how performer rhythm carries information that the dialogue wisely leaves alone. Under the production banner of Bill and Ben Productions, Absolutely Anything treats performer rhythm as part of its storytelling grammar. Comic timing built around character gives Absolutely Anything a stronger sense of place within its United Kingdom context. The technical departments of Absolutely Anything remain coordinated, so polish supports involvement instead of creating distance.

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The lasting judgement on Absolutely Anything is a film for only the most curious members of its likely audience for comedy fans who respond to personality and timing. Absolutely Anything earns that response through the focus of Simon Pegg, the contribution of performer rhythm and the direction of Terry Jones. It remains true that events happen without gathering enough dramatic force during Absolutely Anything, which keeps enthusiasm measured. Still, Absolutely Anything understands the experience it wants to create and communicates that intention with recognisable personality.