Simon Pegg and Nick Frost’s Underrated Sci-Fi Gem Deserves a Second Look 15 Years Later

Image: Wilson Webb/Universal Pictures/Everett Collection

Since the mid-1990s, Simon Pegg and Nick Frost have fostered one of the most beloved creative partnerships in modern comedy. Their collaborative synergy has left an indelible mark on both British and American pop culture. When Pegg co-created the cult classic sitcom Spaced, he carved out a role specifically for Frost, who was then a struggling newcomer supporting himself as a waiter. The pair eventually reached international stardom through Edgar Wright’s “Cornetto Trilogy”—a series of genre-bending parodies led by the seminal Shaun of the Dead. Over the last decade, they have expanded their horizons with their production company, Stolen Picture, yielding various television projects and the 2018 film Slaughterhouse Rulez.

Curiously, despite their prolific history as a screen duo, Pegg and Frost have only shared screenwriting credits on a single feature film. While this movie was a witty, commercially successful endeavor, it often lingers in the shadow of their collaborations with Wright, remaining a somewhat underappreciated entry in their joint filmography.

Image: Wilson Webb/Universal Pictures/Everett Collection

That film is Paul, a 2011 sci-fi comedy that the duo originally envisioned while on the set of Shaun of the Dead. Pegg and Frost portray a pair of British comic book enthusiasts who embark on a pilgrimage to San Diego Comic-Con, followed by an RV road trip across the American Southwest to visit legendary UFO sighting locations. Their vacation takes a wild turn when they cross paths with Paul (voiced by Seth Rogen), an extraterrestrial fugitive from Area 51. Paul is on a desperate mission to reach Devil’s Tower, Wyoming, hoping to signal his home world before government operatives capture and dissect him.

Devil’s Tower is a deliberate nod to the climax of Steven Spielberg’s masterpiece, Close Encounters of the Third Kind. This is just one of the myriad science-fiction tributes woven into Paul. In one scene, the titular alien demands “Reese’s Pieces” in a clear wink to E.T. the Extra-Terrestrial. Later, the film subverts a miraculous resurrection scene from 1984’s Starman with a darkly comedic twist involving a bird. Even the prosthetic oddities of Total Recall serve as a recurring punchline.

Image: Wilson Webb/Universal Pictures/Everett Collection

This accumulation of “Easter eggs” transforms Paul into an earnest love letter to sci-fi cinema and its devoted fandom. Rather than being mere fan service, these references are narratively justified by Paul’s backstory. Having been stranded on Earth since 1947, he has spent decades influencing human culture from behind the scenes, even acting as a secret consultant for Spielberg during the 1980s (with Spielberg himself providing a voice cameo for the exchange).

Paul’s lengthy stay on Earth also informs his unexpectedly casual demeanor. Far from the typical “fish-out-of-water” alien archetype, he is a fluent English speaker with the personality of a laid-back slacker, often seen in flip-flops and smoking cigarettes. Seth Rogen’s distinct comedic voice proved to be the ideal fit for this subversive character.

However, that same casual energy perhaps explains why the film never quite achieves a high-octane momentum. While the journey is entertaining and consistently humorous, the narrative tension remains relatively low, and the “chase” elements feel secondary to the character interactions. Beyond standout moments like the bird gag or the Spielberg cameo, the film leans more into its “hangout” atmosphere than punchline-heavy set pieces.

Image: Wilson Webb/Universal Pictures/Everett Collection

Ultimately, Paul is a highly watchable film that prioritizes vibes over stakes. It shares a director, Greg Mottola, with Superbad, another quintessential “hangout” movie. This connection clarifies both the film’s strengths and its limitations. While the low-stakes approach worked perfectly for Superbad’s story of teenage misadventures, it creates a slight dissonance in Paul, where the central conflict theoretically involves a life-and-death government conspiracy.

By comparison, even the more somber entries in the Cornetto Trilogy, like The World’s End, managed to balance slacker comedy with a palpable sense of urgency. One can’t help but wonder if Edgar Wright’s signature kinetic direction would have imbued Paul with more visceral excitement. Nevertheless, as a standalone collaboration between two of comedy’s brightest minds, Paul remains a charming, geek-centric journey well worth the trip.

Source: Polygon