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Aug 9, Simon Pegg as Graeme Willy. Nick Frost as Clive Gollings. Jason Bateman as Agent Zoil. Kristen Wiig as Ruth Buggs. Bill Hader as Haggard.

Blythe Danner as Tara Walton. Joe Lo Truglio as O'Reilly. John Carroll Lynch as Moses Buggs. Jane Lynch as Pat Stevens.

David Koechner as Gus. Jesse Plemons as Jake. Michael Powell. Sigourney Weaver as The Big Guy. Steven Spielberg as Himself.

Jeffrey Tambor as Adam Shadowchild. Jennifer Granger as Adam Shadowchild Fan. Nelson Ascencio as Jorge. Brett Michael Jones as Keith Nash.

Mia Stallard as Young Tara. Mark Sivertsen as State Trooper. David House as Security Guard. Syd Masters as Band Member 1.

Michael Miller as Police Officer. Gary Roller as Band Member 2. Oliver O'Shea as Band Member 3. Lonnie Otha-Mayer as Band Member 4. Will Veitch as Band Member 5.

Mike Miller as Police Officer. Lori Dillen as Robed Woman. Joe Berryman as Gas Station Attendant. Jeremy Owen as Sword Vendor.

Todd Anderson as Comic Store Clerk. Diego Deane as Fireworks Store Clerk. Seth Rogen as Paul. Five Favourite Films with Nick Frost.

April 13, Rating: 2. March 21, Rating: C Full Review…. March 21, Full Review…. July 12, Rating: C Full Review…. January 17, Full Review….

August 19, Full Review…. May 14, Full Review…. October 24, Full Review…. View All Critic Reviews Nov 22, Never quite as funny as it could be, Paul never uses the talents of its cast to any reasonable degree.

It's a disarmingly lame, and unenergetic and no one seems overjoyed in being a part of it. Sigourney is the best part. Rating: Bradley J Super Reviewer.

Feb 26, When an artistic partnership has become established, it can be very difficult for its constituent members to achieve success or recognition on their own.

Filmmakers as varied as the Hughes brothers and Powell and Pressberger have struggled to branch out on their own - though in Powell's case, he has been considerably rehabilitated since Peeping Tom first hit the screens.

But it is particularly difficult to do this in comedy, where double acts become so indelible in the public's imagination that it is almost inconceivable for the individuals therein to take the limelight alone.

Between these last two offerings, Wright attempted to crack Hollywood in his own right with Scott Pilgrim vs the World, leaving Pegg and Frost with time on their hands to try something of their own.

The result of this gap in their schedules is Paul, a somewhat underwhelming vehicle which fails to make the most of its leads as both actors and writers.

Underpinning Paul is a desire to make Pegg and Frost's very British style of comedy appeal to American audiences.

There is a very conscious effort on the part of director Greg Mottola to sell Pegg and Frost as a double act for the johnny-come-latelies who hadn't seen Pegg's success as a good reason to delve into his back catalogue.

As a result there is a great deal of pandering to American expectations of what British culture is like, including our attitudes to religion, our views on homosexuality and our approach to geek culture, in a manner which is understandable but very tacky.

The screenplay of Paul feels like the first draft of a half-decent script that would eventually have been a better film.

There are loads of films built around the device of authors having extraordinary experiences out in the real world which leads them to write a masterpiece, or authors being driven mad by strange goings-on - The Shining and In The Mouth of Madness being good examples of the latter.

But instead of being taken in a quirky new direction, the plot is tightly constricted by the tried-and-tested conventions of the American road movie; the goal may be getting to a sci-fi convention rather than a plush campsite in the Rocky Mountains, but otherwise the film's central premise is not that different in scope to National Lampoon's Vacation.

A lot of the concepts raised in the script feel underdeveloped, being only briefly touched upon rather than explored in detail, either poignantly or with jokes.

The idea of aliens having an influence on human civilisation and culture is a lynchpin of 20th-century sci-fi, but Paul tackles it in about as much depth as Indiana Jones and the Kingdom of the Crystal Skull.

Once the idea of Paul's influence had been introduced, the film could have used it as a jumping-off point for a series of gags about exactly how his influence was felt - similar to what happened regularly on Doctor Who during both Matt Smith and Peter Capaldi's time in the TARDIS.

Instead the idea is treated as a throwaway gag, and then it's back to tired jokes about smoking weed and women with three boobs a drawn-out Total Recall reference.

There is a place for films with aliens who are bad taste and surprisingly down-to-earth when it comes to meeting humans. They don't all have to be either as ruthlessly threatening as the Xenomorphs in Alien or as cuddly as those in Close Encounters of the Third Kind.

But the relationships in Paul are too baldly written and are set in stone very early on, the jokes are not honed properly and much of the larger-scale set-pieces drag on.

Most of all, it doesn't have the heart or warmth either of Pegg and Frost's best work or the best films about alien encounters, like E.

Paul also suffers because of the lack of a strong bond between the cast and the director. It's fair to say that anyone would have struggled to get the same standard of performance out of Pegg and Frost that Wright managed; J.

Abrams did okay with the former, but that was in supporting roles rather than as a joint lead. Mottola's back catalogue is decidedly uneven - the awful Superbad versus the surprisingly decent Adventureland - and his sensibility simply doesn't gel with that of his leading men.

A lot of the film is characterised by the same chaotic, sub-Saturday Night Live approach to American comedy that we later saw in We're The Millers, where characters endlessly shout over each other in the name of sounding naturalistic - an approach which ironically makes the comedy feel a lot more forced.

A further problem along these lines is the lazy characterisation of the women in the film. One of the things which made Spaced work so well was that Jessica Stevenson could go toe-to-toe with Pegg and Frost, with a character that was just as well written.

While there are some nice touches in Pegg and Frost's characters, and a few decent lines for Seth Rogen, Kristen Wiig gets very little to do that doesn't make her fantastically irritating.

Her entire character is poorly written and lazy - why does every Christian in mainstream comedy have to be a creationist nutjob? Once the scales have fallen from her eyes, her character becomes just a boiled-down version of her performance in Bridesmaids, equal parts grating and repetitive.

The same goes, very sadly, for Sigourney Weaver. She is no stranger to sci-fi comedy having appeared in the underrated Galaxy Quest, and played a memorable antagonist in The Cabin in the Woods around the same time.

Weaver leapt at the chance to be in the film, and she's clearly having as much fun as the part allows. But while Mottola wisely confines her to just a menacing voice until the final reel, the pay-off doesn't fire on all cylinders.

What should be a ballsy finale is just a reiteration of the same joke that she's a woman called The Big Guy , and while her death is funny, it's more of a passing chuckle than a belly laugh.

Paul, to be blunt, is a film which settles for the easy, low-hanging fruit when it is more than capable of flattering both itself and the audience's intelligence.

If watching Shaun of the Dead was like watching a lightweight British sports car run rings around a lumbering American muscle car, this is like turning up to watch a daredevil stunt driver who then decides to pootle around in a diesel hatchback.

Mottola does put the extra money on screen most of the time - the motion capture and CGI used to bring Paul to life is very well-executed. But it lacks both the ambition and finesse needed to bring its central concept to life, and settles for being an adequate film rather than constantly pushing on towards goodness.

But in spite of all its shortcomings or half-heartedness, it is still possible to find some fun to enjoy in Paul. Pegg and Frost still make for a likeable and charismatic pairing; they are easily capable of holding our attention in the face of indifferent material by their energy levels, and you always get the sense of them believing in the project.

This does result in a lot of on-the-nose references including Weaver's famous line at the end of Aliens , but these aren't enough to throw you out of the moment too much.

Paul also looks pretty decent as comedy road movies go. Lawrence Sher has a less-than-glittering record as a cinematographer Garden State, The Dukes of Hazard and The Hangover Part III, to name but a few , but he understands the films which Pegg and Frost are influenced by, and shoots the set-pieces with enough of a modern touch to lift the action above mere homage or pastiche.

David Arnold's score is one of his less memorable but it suits the action sufficiently, and Chris Dickens' editing is disciplined and controlled, keeping the film at a decent enough pace.

Even if none of the jokes had fired, this is a more mechanically sound comedy than, say, Beverly Hills Cop or Police Academy. Paul is an enjoyable disappointment which doesn't make enough of Pegg and Frost's talents either as writers or as performers.

The charm of its leading men and the mechanical integrity of the film is just about enough to override the persistent feeling that they can do so much better, and there are moments where it finally gets out of third gear and starts to shine.

While not a low point in either of their careers, it is not an exercise that they should readily repeat.

Daniel M Super Reviewer. Mar 09, Would kind of hope for more given the collaborative team both on the screen and behind the camera, but there is still something quite endearing about Paul.

Gimly M Super Reviewer. Aug 27, Worth checking out I guess. Stephen S Super Reviewer. See all Audience reviews. Graeme Willy: How can I understand you; are you using some sort of neuro-language router?

Paul: Or, maybe I'm speaking English, you fucking idiot! Agent Zoil: Copy that! Moses Buggs: The Good Lord is the only doctor she'll ever need.

Graeme Willy: No, no he's not evil, he's just a bit rude. View All Quotes. Video Game Movies Ranked. Best Netflix Series and Shows. Go back.

Being imprisoned in a Military facility for a long time the green guy Paul the Alien , finds a way out. He escapes god knows how, and flees in the first vehicle he comes across.

Unable to reach the pedal at the wheel Paul Swirls and finds himself in a fatal car crash, which was pretty much self-inflicted!

Graeme and Clive two hardcore comic fans just happen to be taking a road trip across the states exploring area 51 in the greater Americas.

Just so happens that Paul just like clockwork crashes right in front of them and so the friendship begins. Fleeing from the law is not an easy task if you're an alien I would say, not far behind in agent Zoil hot on their tail trying to bring Paul back in.

Clive and Graeme make it their own concern as they earnestly try to save the little guy and send him back home. The choices they make are fairly unorthodox, but effective.

Slapstick comedy, fast pacing and at times downright stupid; yet that is the genius comedy that makes this a fun to watch movie by the entire family if you're above 18!

Some language and content seem to have brought upon R MPAA rating which personally I felt is a bit too much, taking into consideration the gist of storyline.

Yet; that's just how it is! Director Greg Mottala Superbad, Adventurland who is known for his funny approach to movies does a sheer marvelous job on this hilarious sci fi comedy.

A personal favorite of mine was the blowing up of the house! Without giving it all away, I need to say, simple but satisfying!

What a lovely combination of talent. The two Englishmen and the New Yorker does a fantastic job and keeps the movie and very fast pace.

Seth Rogen does a perfect Paul, and his voice just livens up the lines in a manner that even some dialogues that are serious sounds funny.

It has been a while since I have been entertained on a Sci Fi comedy. As a critic at times one becomes to analytical, however there are a few productions that just go by me that deserve to be viewed in the intent it was scripted.

The reason I chose to say this is the result of conversations where some believe that there is no depth in the characters and there was no intricate plot progression.

That's when to the best of my knowledge, I shifted my paradigms and made an effort to align it with what presumably were in the hearts and the minds of the director and the writers.

If you manage to do so you will enjoy the story of "Paul". If you are a fan of entertainment and allow room for some sci fi stupidity which is eventually a farce this for sure is one of those to sit back and watch with family or a few of your close buddies.

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Director: Greg Mottola. Writers: Simon Pegg , Nick Frost. Added to Watchlist. From metacritic. Major Comic-Con Home News.

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Edit Cast Cast overview, first billed only: Mia Stallard Young Tara Simon Pegg Graeme Willy Nick Frost Clive Gollings Jeremy Owen Sword Vendor Jeffrey Tambor Adam Shadowchild David House Security Guard Jennifer Granger Adam Shadowchild Fan Nelson Ascencio Jorge Bobby Lee Valet Jane Lynch Pat Stevens David Koechner

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Adam Shadowchild David House Security Guard Jennifer Granger Adam Shadowchild Fan Nelson Ascencio Jorge Bobby Lee Valet Jane Lynch Pat Stevens David Koechner Gus Jesse Plemons Jake Seth Rogen Paul voice Jason Bateman Agent Zoil Sigourney Weaver Learn more More Like This.

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Taglines: Fugitive, celebrity, slacker, joker, alien. Edit Did You Know? Wright had to leave the project to work on Scott Pilgrim vs.

STS was a mission involving Atlantis docking with the Mir space station in , several years prior to the movie's time frame. Quotes [ first lines ] Young Tara : [ referring to her dog ] Go on, then, Paul.

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Yes No Report this. Language: English Klingon. Also Known As: Change the Channel! Runtime: min min Unrated. Color: Color Black and White archive footage.

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Paul isn't as riotous as the early Pegg and Frost movies, but it does have a certain sweetness. Everyone in it is sort of innocent, except Paul, the alien wisecracker.

It's likeable, if uneven, rather than hilarious. Paul Byrnes. Rafer Guzman. The film has some laughs. But it also has a million jokes about anal probes, alien genitalia, and people thinking Clive and Graeme are gay.

These guys can do better than this. Eric D. The CGI alien is very well articulated, and Rogen is a virtuoso at mixing motormouthed rudeness with a hint of tenderness to take off the edge.

David Edelstein. Paul is arguably the best science fiction comedy since Galaxy Quest. James Berardinelli. Brent McKnight.

Paul is unfortunately geared toward the lowest common denominator, coasting on an endless battery of schoolyard jokes.

Felicia Feaster. A forced marriage between sharp English wit and the broad overkill of SNL sketch comedy. Brian D. It's geek pride all the way.

It's funny, it's exciting, and it has jokes about spaceman junk. Who could ask for anything more? Johnny Gayzmonic.

Again, Paul is a very good film, and could certainly be enjoyed by a large audience; but like Chinese food, it will likely be forgotten not long after consumption.

Shelagh Rowan-Legg. The jokes, while solid, didn't feel focused enough. Paul is a nerd love letter when it could have been a monument.

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Please click the link below to receive your verification email. Cancel Resend Email. Add Article. Paul Critics Consensus It doesn't measure up to Pegg and Frost's best work, but Paul is an amiably entertaining -- albeit uneven -- road trip comedy with an intergalactic twist.

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How did you buy your ticket? View All Videos View All Photos Movie Info. While there, they accidentally meet an alien who brings them on an insane road trip that alters their universe forever.

For the past 60 years, an alien named Paul Seth Rogen has been hanging out at a top-secret military base. For reasons unknown, the space-traveling smart ass decides to escape the compound and hop on the first vehicle out of town -- a rented RV containing Earthlings Graeme Willy Pegg and Clive Gollings Frost.

Chased by federal agents and the fanatical father of a young woman that they accidentally kidnap, Graeme and Clive hatch a fumbling escape plan to return Paul to his mother ship.

And as two nerds struggle to help, one little green man might just take his fellow outcasts from misfits to intergalactic heroes.

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