An interweaving narrative chronicling the antics of such diverse characters as: a transsexual taxi driver, a family obsessed with hygiene and toads, a fiery reverend, a carnival owner who kidnaps women into marriage, and a xenophobic couple who run a local shop for local people.
Richie and Eddie are in charge of the worst hotel in the UK, Guest House Paradiso, neighbouring a nuclear power plant. The illegal immigrant chef has fled and all the guests have gone. But ... See full summary »
The fictional world of Royston Vasey is facing apocalypse and the only way to avert disaster is for our nightmarish cast of characters to find a way into the real world and confront their creators. From present day Soho to the fictional film world of 17th Century Britain, the residents must overcome countless bizarre obstacles in their bid to return Royston Vasey to safety. Written by
The film was apparently spawned from an idea one of the writers had when he 'saw' one of his creations in a supermarket. The inhabitants of Royston Vasey head into 'our' world to persuade the writers not to stop writing about them and thus destroy their world.
If that sounds a bit too serious, don't be put off. Within the first few minutes we get: Bernice (the vile female vicar) letting rip at an unfortunate penitent during confession; Chinnery (the vet who inadvertently destroys every animal he touches) attempting to collect semen from a giraffe; Mickey (thick beyond belief) being, ah, thick; and Tubbs (inbred sister-wife and local shopkeeper) being sweet as ever
but still disgusting.
Some of the regular characters are missing, but a new idea by the Gents introduces some 16th-Century characters - and we have the Gents themselves in the action too. If you're new to The League of Gentlemen, this is an easy introduction and a lot of fun. If you're a long-standing fan, this has everything you've come to expect - including the joys of Jeremy Dyson spotting.
All told, it's got the same faintly surreal humour that's the hallmark of the series, plus some moments of quite touching 'introspection'. Herr Lipp, for example, maintains a gentle dignity on learning that he's regarded by his creators as a 'one-joke character'. While most of the characters stay as they are, some develop in unexpected ways that are perfectly natural when they happen.
This film is a 'swan song' for Royston Vasey, but it's also a showcase for the Gents who prove that (gasp!) they can write other stuff - and it can be very funny. (But you knew that anyway.)
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