“Absolute Power Doesn’t Corrupt, It Just Drives You Bloody Mad!” – Neil Clarke

Released in 2015, Absolutely Anything is a zany sci-fi-comedy that explores the age-old fantasy of unlimited wish fulfillment, a concept historically associated with gods, genies and mythical beings. In this instance, however, the power rests in the hands of omnipotent extraterrestrials, who, believing in their superiority, bestow their boundless ability upon a single unsuspecting human. Alas, aside from this inventive alternative, Absolutely Anything misuses its limitless premise and affable lead, Simon Pegg, for a typical rom-com setup, offering mild, light-hearted entertainment over consistent gags, creative visuals or lasting impact.

Plot Summary: As part of an interplanetary experiment, an extraterrestrial council traverse the universe in search of intelligent life. Upon reaching Earth, they initiate their usual test of granting one randomly selected inhabitant the ability to do anything to determine whether humanity is worthy of joining their intergalactic community or should be annihilated. A test that likely spells doom for humanity as the council haphazardly selects Neil Clarke, a washout British school teacher, as their subject…

Co-written and directed by the late Terry Jones (Monty Python and the Holy Grail, Personal Services, The Wind in the Willows), Absolutely Anything draws inspiration from the 1898 short story; The Man Who Could Work Miracles, by H.G. Wells, as both stories centre on an ordinary man suddenly granted reality-altering abilities. However, the leading discrepancy between the two is how Absolutely Anything leans heavily into comedy, delivering a string of farcical scenarios that allow Pegg’s energetic performance to shine. As such, the tone throughout the film remains consistently blithe as the screenplay shies away from any deep philosophical exploration of its central concept or even any long-term consequences to Neil’s actions, as when a situation veers into chaos, Neil merely waves his hand to undo the damage, undercutting any disorder his newfound power might trigger.

As the leading man, Simon Pegg infuses Neil Clarke with an endearing blend of immaturity and dopey charm, rendering the character’s misguided desires and naïve missteps more forgivable. Still, the film undoubtedly misses the opportunity to examine how absolute power might affect the average person, for better or worse. Instead, Neil uses his ability almost entirely for petty or farcical purposes, with one of his more amusing decisions granting his loyal dog, Dennis, the capacity to speak, leading the canine to be energetically voiced by the late Robin Williams. The result is a delightfully giddy sidekick, whose witticisms often relate to the amusing traits of his species. Less enjoyable is the romantic subplot between Neil and his downstairs neighbour Catherine, portrayed by Kate Beckinsale, as despite Neil’s fascination with Catherine being at the core of the story, her character is underwritten and uninteresting, making their relationship (and her inclusion) feel obligatory rather than organic, a criticism that applies to many of the side characters.

Visually, Absolutely Anything is an odd mix of British realism and low-budget science fiction, with the majority of the film shot in and around an abandoned building that was formerly a school, cleverly repurposed to serve as Neil’s flat and the secondary school where he teaches. While these Earthbound settings help ground the otherwise outlandish story in a familiar, everyday backdrop, many of the sets throughout the runtime appear cheap and flavourless, especially when combined with the American sitcom-esque lighting and cinematography by Peter Hannan. The most jarring disparity in the film’s visuals, however, comes with the subpar CG effects, from the splicing of Simon Pegg’s head onto different bodies to the space-bound sequences of the extraterrestrial council debating; the CGI is noticeably lacking, even if the aliens’ designs exhibit visual variety.

Contrarily, the original score by George Fenton brings a whimsical energy to the film, as his compositions underscore the comedic beats with light piano melodies, lively orchestration and plucky strings that reflect Neil’s bemused reactions to his newfangled ability. For example, during the scene where Neil begins experimenting with his powers, commanding a bottle of whiskey to exchange itself only to witness it bouncing down the stairs towards the front door, the accompanying track is fittingly bouncy and eccentric.

Upon its initial release, Absolutely Anything was frequently compared to Bruce Almighty (2003), another male-led comedy about divine empowerment. But, their distinctions are actually quite significant, as Bruce Nolan, the titular character, cannot override free will, whereas Neil can. Moreover, Bruce Almighty centres on a theological framework with God as an active character, whereas Neil’s powers come from extraterrestrials he never encounters, exuberantly voiced by the surviving members of the Monty Python series. In fact, Absolutely Anything notably marks the first on-screen reunion of the Monty Python cast since The Meaning of Life (1983), and, according to Terry Jones, might be their last collaborative outing. There’s also a nod to their comedic legacy during the opening sequence, as the camera pans across space to an orbital scrapyard of discarded spaceships, one of which is from 1979’s Life of Brian.

In summary, Absolutely Anything is a comedy buoyed by its bewitching premise and the charisma of its lead. Yet, it is frustratingly superficial, opting for a low-stakes story, cartoonish gags and rom-com tropes rather than exploring the satirical or existential dimensions its narrative invites. Whilst the film does contain some moments of wit, Absolutely Anything never lives up to the potential promised by its title or the strong comedic talent it harbours. Rating: 4/10.