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The Trip Must End

In the final installment of their fictional travel series, steve coogan and rob brydon let us live vicariously one last time..

Though I’ve long been a fan of the Trip films, I was not prepared to get emotional over the announcement of a new one. Learning of the impending May release of The Trip to Greece — the fourth and final entry in the series that follows British comedians Steve Coogan and Rob Brydon, playing fictional versions of themselves, as they travel lovely roads, eat lovely meals, and do lovely impressions, all the while hilariously sniping at each other over personal and professional matters — led to some complicated feelings. Here was a movie about all the things we can’t do right now, not that most of us could ever really do them: Go for a long car ride in another country with a friend-colleague-rival (at least, that’s how Coogan and Brydon present themselves in these efforts), stay in a hotel, eat in a nice restaurant, and then move on to the next location.

The films, directed and conceived by Michael Winterbottom and partly improvised by Coogan and Brydon, aren’t indulgent wallows in food and privilege, however: Through the heightened, fictionalized portraits of Coogan and Brydon’s petty professional jealousies, they also interrogate the cocoon of celebrity culture. We always get the sense that reality is slowly catching up to these gents. Never has this been truer than in 2020’s The Trip to Greece , which alongside the impressions and the bickering and the delicious meals, finds Coogan and Brydon confronting the agony of the refugee crisis, as well as personal loss in their own lives. (The films all start off airing in longer series form in Britain, and Greece premiered on TV in the U.K. in February.) But for all the darkness, it still manages to be quite charming.

Coogan and Brydon have always been upfront about the fact that the two men presented onscreen are not really their true selves. (They’ve been outfitted with different families, for starters.) But when I get them together for a Zoom one dreary March morning, they slip right into (gently, collegially, lovingly) taking the piss out of each other. Brydon is at home in London. Coogan is at home in Essex, behind him a monitor displaying footage from a series of security cameras, a fact that Brydon does not leave unmentioned.  Brydon is late to our chat; Coogan has noticed …

Hi, Rob. Rob Brydon: Hi, so sorry. I totally forgot.

Steve Coogan: Well, that doesn’t entirely surprise me.

RB: It’s very hard to remember things, I find, at the moment.

SC: Because you’re rushed off your feet, are you? [ Laughs. ]

RB: There’s an interesting thing here. I’ve got an 11-year-old and an 8-year-old, and I think the experience at the moment of people who have young children is very different from the experience of the people who don’t. The people who don’t are watching films, reading books, it’s rather lovely.

SC: I don’t envy you. I’m being facetious. But can you go out?

RB: We go out once a day. One day we do a walk, the other day we do a bike ride. But we don’t come into contact with anyone. We’ve got a big garden, so we can be in that.

SC: You can’t cycle around your garden, can you?

RB: No, no, we cycle the streets. You can cycle the streets as long as you don’t come into contact.

SC: Isn’t that a bit hazardous?

RB: No, because the roads are so quiet.

How are you guys holding up? What the hell is life like for you? RB: Are you alright, Steve? Are you okay?

SC: I am okay. I’m here with my daughter and her boyfriend. Just the three of us. They’re obviously quite happy with each other, and I just kind of hang out with them saying, “What are you guys doing?,” which is slightly awkward. I think they’d be fine without me here, but I’m not sure I’d be fine without them here. So, I’ve been doing that and, you know, going for runs, and Skype writing because that’s what I was doing anyway. I’m carrying on with that, and trying to imagine somehow that the things I write might still somehow be relevant in a post-corona world. I think anyone who’s pitching anything or making anything after this will claim that it’s somehow relevant to coronavirus, whatever it is. But I’m very fortunate. I did some shopping for some people, locally, and the woman asked, “Do you want some money?” And I said, “No, that’s fine. Just make some contribution to some charity.” And my writing partner said, “What you really said was, ‘Just make sure you tell people about it.’” [ Laughs. ] Which I’m doing now.

RB: You know what I would love now is if that as we’re doing this we see behind you, Steve, people breaking into your house and stealing your stuff on the screen, while you’re talking, unaware of what’s going on.

SC: [ Glances behind him. ] Security cameras! And I’m claiming that I care about the local community.

RB: [ Laughs. ] Like a little old woman … [ inaudible ].

You broke up a little bit there, Rob. RB: It doesn’t bear repeating.

SC: Oh, come on, I like it when you’re forced to repeat a punchline after the moment’s gone.

I know a lot of people thought they’d have more time to read, and do other things, but what they’re discovering is they can’t focus on anything, due to the anxiety and stress. SC: I think people are still in a state of shock. Because it all happened rather quickly. But when people adjust to the new reality that’s going to be here for at least a few months …

RB: I’ve actually been reading Alan Bennett’s diaries again. I find those incredibly calming and relaxing, this really lovely ordered world.

SC: I watched Brief Encounter the other day, which was really, really wonderful.

RB: I bet it moves nice and slowly. We showed the boys The Great Escape and really enjoyed it.

SC: It’s great when you can enjoy things vicariously a second time around through your children. Having said that, I just got through the second season of El Chapo and I’m looking forward to the third.

Before watching Trip to Greece this weekend, I rewatched all three previous Trip movies. I started with The Trip to Spain , and there’s that moment early on, where you’re at a restaurant, sitting outside, and it starts to rain and everybody crowds inside. It’s the kind of annoying little thing that everyone has probably experienced at some point in their lives. And yet, I started tearing up watching it, because here was this incredibly common human moment that I can’t have right now. And who knows when I’ll ever get to have it. I was surprised at how it struck me. SC: Wow. When people come out of prison they often talk about the visceral pleasure of feeling rain.

RB: I’ve been seeing lots of things like that at the moment. I see something on television or a film, and I see people meeting somewhere, and think, Wow, that’ll be nice to be able to do that again.

I found The Trip to Greece to be quite poignant. It does seem like the saddest entry in the series. We get this sense that reality is catching up to you guys. SC: What Michael [Winterbottom] does with Rob and I is that whatever peccadillos or idiosyncrasies we have, we just sort of build on them. Because he’s middle-aged like we’re middle-aged, so he just addresses those things. What’s the word? It takes the curse off these things. When we talk about these things, or laugh at these things, they suddenly become diminished. These big questions — the anxiety of life — become somehow just put in a box. And if you make art out of it … What’s that Nora Ephron line? “Everything is copy.”

RB: Oh, you’re speaking of Nora Ephron. You know in The Trip to Greece where I say, “I did a Skype audition,” that was for Nancy Meyers.

SC: Oh, yes, Nancy. I auditioned for her.

RB: Yeah, me too. I didn’t get it.

SC: I didn’t get it either. I auditioned for The Holiday , and she said I wasn’t sexy enough.

RB: I didn’t audition for that. No, this was a little thing. But it was very funny because she was very flattering, and of course I’m very good with flattery. I respond very well to it. And then I did my bit, and of course didn’t get it.

SC: So, basically, you peaked at the small talk.

RB: Yeah! I think I’m good at that. I very rarely get a part that I audition for.

SC: I’m the same. I remember once this director said, “Can you stop saying the name of the character when you talk about it and just say ‘I’?” Right? So when I’m writing Alan Partridge, I say, “Alan does this, and Alan does that.” I don’t say “ I do this,” you know. I just say, “Alan.” And I was talking about a part with this director, saying “he,” referring to the character. “ He does this and then I think he does this,” and [the director] says, “Can you stop saying ‘he’ and say ‘I’, I think it will help you.” And I found myself saying, “Fuck off.” That’s why auditioning doesn’t go well for Rob or, I’d say, me.

Do you ever hear from chefs who felt they or their food were portrayed unfairly on the show? SC: I was at L’Enclume only two months ago. L’Enclume is in the first Trip , in the Lake District, not far from me. I went there for dinner, and the chef, Simon Rogan, who’s very much a respected Michelin star chef, came up and went, “Hey, how are you?” And it was all very friendly, but he still mentioned Ray Winstone’s snot. I don’t know if that’s in the film version [or only in the BBC series version], but there’s this one particular dish that had a green liquid in it that looked a bit like — and I don’t know how we arrived at this, I can’t remember — but I do remember that I compared it to Ray Winstone as a gangster forcing someone to eat his mucus. And for Simon Rogan, the chef … I mean this was ten years ago and whenever I see him he still brings it up in conversation. You know, we were very, very nice, and very complimentary, but it’s funny that that’s the thing that sticks in his mind about the show.

RB: We just praise the food because it’s always very nice, although I’m often not paying that much attention to it. People often say to me, “Which is the best food?” I’m just thinking, What am I going to say next? I’m trying to be inventive and creative. What I do remember are the meals we would eat in the evenings when we weren’t filming.

SC: Yeah. Do you remember, Rob, I think one of the most pleasurable meals we had was in King’s Landing. I think it was the Angel Pub in Yorkshire, and it was fried breakfast, after we had been to Bolton Abbey …

RB: It was simple ingredients.

SC: Yeah, but not the normal simple ingredients. There weren’t fresh, clean ingredients. It was a fried breakfast. It was egg, bacon, sausage, tomato, beans.

RB: But done beautifully.

SC: I remember sitting outside that pub by the road and thinking that was lovely, just … yeah. I’d go back there, you know. I’d go back there.

RB: Well, I went back to Holbeck Ghyll, which is in the Lake District, with my wife and my two younger children …

SC: Did they sit you by the window?

RB: I think, yes, we sat in the same seat, and I felt like the returning hero, and I thought, Surely we’re not going to be charged for this meal . But we were.

SC: You know what, Rob, you say that, but I have to say I have been back there several times, and my brother-in-law and my sister who both are very normal people who work in the public sector helping people with special needs, I told the proprietor and they stayed there for three nights, having Michelin-star dinners every night, and the whole thing was free.

RB: And yet one-half of the original team who made that thing has to pay. Where’s the fairness? [ Laughs. ]

SC: I think that it’s basically socialism in action. Those who can afford it pay. Those who can’t are subsidized. That’s fair. That’s my political worldview in action. So, it was right that you were charged.

RB: I’m struggling with it. A discount would have been something.

How often do you hear back from the subjects of your impressions? RB: We did a thing with Michael Caine at the Albert Hall, and he was very nice. You can see it . Anthony Hopkins I met in Los Angeles and he said, [ does an Anthony Hopkins voice ] “I loved The Trip. Loved The Trip .” This was after we’d done the first one and the Italian one hadn’t come out. And I said, “Well, in this new one, the Italian one, we’re on a yacht and we do you in The Bounty .” And he started doing it! He started going, “Turn your back away, Mr. Fryer!” And then I was doing it back to him. We were in a car and I got rather giddy. Hopkins! Hopkins occupies a sort of Brando-like position in the business. I think he is the equal of any actor, if you look at what he has put onscreen and onstage. And there he was, and he was doing it, you know, right next to me. And I’m doing it back at him! It was all I could do not to cry. It was quite overwhelming.

SC: Gosh, yeah … I’m quite envious of that.

Has anybody you’ve done impressions of reacted negatively? RB: I don’t think so. I think most people are flattered by it.

SC: Oh, me! That’s me. When you do me. I react slightly negatively.

RB: I do Steve Coogan and he’s a prickly customer. He doesn’t like it.

SC: [ Laughs. ] Probably the most negative reaction is me when he does me. That’s the truth, yeah. I do find it a little bit uncomfortable when he does it. You know how some people don’t like it when you take photographs of them, because they think you’re taking their soul? I feel like somehow it’s distilling some DNA, like a little bit of witchcraft. There’s something discombobulating about it. I don’t think it’s quite me, but there’s a certain familiarity about it. It’s reductive, that’s what it is. Because I think what I do is quite interesting, and if you do it, it’s almost like you can sort of bottle it and sell it in Boots, and that worries me, you know.

RB: And he’s telling the truth when he says that.

SC: Yes, yes. Yes. [ Laughs. ]

Rob, I hear that you declined to meet Al Pacino once. RB: Yeah, that is true. I was doing The Huntsman: Winter’s War . A big hit. It exploded at the box office. It bombed. And I played a dwarf. Great fun. And Jessica Chastain was on it, and one weekend she said, “Al is in town. We’re going to meet up for drinks. Do you want to come?” Now, I had a school event on, so I had to go to some parents’ thing. I could have got out of it, but I chose not to because I thought, Well, what’s going to happen? I’ve ended up meeting a lot of my acting and musical heroes, but there are some then who I think … Well, I’ve already got a great relationship with Al Pacino in my head, you know? So let’s just leave it at that.

Both of you have done work over the years that blurs the line between reality and fiction, but with the first Trip , was there any kind of adjustment, in that you really were playing these versions of yourselves? Was there a question of how much reality to put in? SC: I remember having a chat with Rob and saying, “Let’s risk offending each other and not take it personally, to try and find funny things.” I don’t know that we actually shook hands. And that pretty much worked, I think, 95 percent of the time. I got tetchy sometimes, but by and large that held, that sort of gentleman’s ribbing.

RB: The difference with the first one, from my perspective, was that it was very new, and we were going into it thinking, Well, what is this? You know, because Michael [Winterbottom]’s pitch was as a series initially, although he was saying he was going to make a film. It was six half-hours. And I remember thinking, How on Earth can we improvise enough good stuff for six half-hours? I was convinced we wouldn’t. The thing that surprised me about the first one when I watched it was the melancholy. We were traveling home every weekend, because it was done in Britain, and I’d come home and say to my wife, “Oh yeah, Steve was very funny, we did some very funny stuff.” But of course I wasn’t aware of the way Michael was shooting it, and the music he was going to put on it, and the long, slow shots. And that’s part of its success: You’ve got us two who, broadly speaking, follow traditional comic instincts and timings, and then you’ve got Michael who is a very un-manipulative filmmaker. He just wants to tell the story. Just, blomp , there it is, there’s the story. There are often times where I think, “Well, why didn’t you cut here, or cut a bit sooner on the joke?” But it was better that he didn’t, because it made it very individual.

SC: I agree with Rob there. And in fact I think Rob and I were sort of trying to get involved with Michael in the process in the first Trip , and then after that we just didn’t bother anymore.

RB: Futile, futile.

SC: Pointless! Pointless! And a waste of energy because Michael’s very good at what he does. These films are Michael Winterbottom films, and we’re just in them doing stuff.

Rob, I remember a story you told about how in The Trip to Italy , after you had the affair with the deckhand, your wife was hearing from people the next day saying, “Oh my God, I’m so sorry this happened.” RB: Yeah, she was taking the boys to school, and a teacher came up, put a hand on her shoulder, and said, “This must be a very difficult time for you.”

SC: That is very worrying that your kids were going to a school where a teacher can’t make that distinction.

RB: A state school. It’s more of a commune, really.

SC: What’s funny is if you say things that are self-critical or portray yourself in that negative light, as we do in The Trip , it sort of it nixes those who ought to say things like “In reality,” because you think, what can they say? Not only have I criticized myself, I’ve turned it into something creative and helped pay the rent with it.

RB: I always find it very funny that some people watch it and take it simply as a reality show, as if literally he’s just following us around and these things are really happening.

SC: I mean, while we’re having dinner, you think that might be real. But when I sleep with the receptionist at the hotel, how they think I allowed a film crew into the bedroom to —

RB: How she allowed you into the bedroom, I think would be the …

SC: Well, that’s more believable.

I think part of it is that reality TV has trained people to accept these things as real. Because that sort of thing would happen on, you know, The Real World . SC: That’s very true. This is such a weird hybrid.

RB: I can’t speak for Steve here, but I don’t really watch those programs because I’m a bit of a snob.

SC: Yeah. But I do.

It’s a bit of a reality series, but it’s also something of a movie franchise. For people like me, you know, The Trip is almost our version of a superhero franchise. There’s something familiar about it, there’s the template, but then the variations are what make it fun. And you guys are ending it right around the time The Avengers and Star Wars are sort of ending as well. RB: It’s our Endgame , yeah.

SC: We’re superheroes for middle-aged, middle-class, white professionals.

Part Two of this interview will run next month. The Trip to Greece will be available in the U.S. on May 22, 2020. The previous Trip films are currently streaming on IFC Films Unlimited.

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49 facts about the movie the trip.

Written by Faustine Campion

Modified & Updated: 05 Mar 2024

Reviewed by Jessica Corbett

The Trip is a critically acclaimed movie that takes audiences on a hilarious and heartwarming journey. Directed by Michael Winterbottom, this British comedy stars Steve Coogan and Rob Brydon as fictionalized versions of themselves. The film follows their culinary tour through the stunning landscapes of England, as they review restaurants and engage in witty banter along the way.

With its clever blend of comedy, food, and stunning vistas, The Trip offers a unique and entertaining viewing experience. Coogan and Brydon’s impeccable chemistry, combined with Winterbottom’s directorial vision, make this film a must-watch for any movie lover.

In this article, we will delve into 49 fascinating facts about The Trip that will enhance your appreciation for this remarkable film. From behind-the-scenes stories to interesting trivia, get ready to be immersed in the world of The Trip like never before.

Key Takeaways:

• “The Trip” is a hilarious and heartwarming comedy film about two friends on a food-filled road trip through England, featuring stunning landscapes and improvised humor.
• “The Trip” showcases the comedic talents of Steve Coogan and Rob Brydon, blending food, travel, and friendship in a must-watch movie experience.

The Trip is a comedy film directed by Michael Winterbottom.

The Trip is a comedy film directed by Michael Winterbottom that was released in 2010.

The film stars Steve Coogan and Rob Brydon.

Steve Coogan and Rob Brydon play fictionalized versions of themselves in the film.

It is a follow-up to the TV series of the same name.

The Trip originated as a TV series in the UK before being adapted into a feature film.

The Trip follows the story of two friends on a culinary road trip through England.

The film revolves around Steve and Rob as they travel to different restaurants and indulge in fine dining.

The movie features stunning locations across England.

The Trip showcases picturesque landscapes and famous landmarks throughout its duration.

The dialogue in the film was largely improvised.

Steve Coogan and Rob Brydon were given a general outline for each scene and relied on improvisation to deliver their lines.

Many of the interactions between Steve and Rob are humorous and playful.

The chemistry between Coogan and Brydon shines through in their witty banter and impersonations.

The film incorporates elements of comedy and drama.

While it is primarily a comedy, The Trip also touches on deeper themes of friendship and identity.

The Trip received critical acclaim upon its release.

The film was praised for its performances, humor, and beautiful cinematography.

It was nominated for several awards, including the BAFTA for Outstanding British Film.

The Trip was recognized for its excellence in writing, acting, and overall production.

The movie has spawned three sequels: The Trip to Italy, The Trip to Spain, and The Trip to Greece.

Steve Coogan and Rob Brydon continued their on-screen adventures in subsequent films set in different countries.

Each film in the series follows a similar format of food, travel, and lively conversations.

The Trip films are known for their combination of gastronomy and comedy.

The characters portrayed by Coogan and Brydon are exaggerated versions of themselves.

While based on their real personas, they incorporate fictional elements for comedic effect.

The Trip is known for its impressive array of food shots.

The film showcases mouthwatering dishes from the various restaurants visited by the characters.

It features frequent celebrity impressions by Coogan and Brydon.

The two actors engage in friendly competition, showcasing their abilities to mimic famous personalities.

The soundtrack of the film includes a mix of popular songs and original compositions.

The music adds to the overall ambiance and sets the tone for each scene.

The cinematography captures the essence of the locations visited.

The stunning visuals transport the audience to the picturesque landscapes of England.

The Trip serves as a showcase for the culinary delights of the British countryside.

It highlights regional dishes and local ingredients, giving viewers a taste of British cuisine.

The film explores themes of nostalgia and self-reflection.

The characters examine their pasts and contemplate their personal and professional lives.

The Trip strikes a balance between light-hearted humor and poignant moments.

It seamlessly shifts between comedy and drama, creating a multifaceted viewing experience.

The movie was inspired by the road trip genre, combining elements of travelogue and comedy.

It pays homage to classic road trip films while adding its own unique twist.

The script for The Trip was primarily an outline with improvised dialogue.

This allowed the actors to bring their own personalities and comedic talents to the forefront.

The film has a naturalistic and documentary-style approach to filmmaking.

It creates an intimate and believable atmosphere, making the audience feel like they are part of the journey.

The Trip features stunning cinematography of the British countryside.

The landscapes are captured with breathtaking beauty, showcasing the diverse regions of England.

The film serves as a showcase for the comedic talents of Steve Coogan and Rob Brydon.

Their chemistry and comedic timing are a major highlight of the film.

The Trip explores the complexities of friendship and the passage of time.

Steve and Rob’s relationship is tested throughout their journey, leading to moments of reflection and introspection.

The movie is renowned for its sharp and witty dialogue.

The conversations between the characters are filled with clever one-liners and humorous exchanges.

The Trip combines elements of comedy, drama, and travelogue genres.

This unique blend of genres allows for a diverse and engaging viewing experience.

The film has a relaxed and leisurely pace, mirroring the slow-paced nature of a road trip.

The pacing allows the audience to savor each scene and immerse themselves in the journey.

The Trip celebrates the art of fine dining and culinary craftsmanship.

It showcases the passion and dedication of chefs and highlights the artistry behind each dish.

The movie captures the essence of the British sense of humor.

The humor is dry, witty, and often delivered in a deadpan manner.

The Trip received positive reviews for its authenticity and realistic portrayal of a friendship.

The dynamic between Steve and Rob feels genuine and relatable.

The film’s success led to its adaptation into a TV series and subsequent sequels.

Following the positive reception of the movie, The Trip became a popular franchise.

The Trip showcases the beauty of England’s countryside, from rolling hills to coastal vistas.

The stunning imagery transports viewers to the scenic landscapes of the United Kingdom.

The movie explores the fascinating world of gastronomy and culinary exploration.

It delves into the passion and creativity behind creating and experiencing exquisite food.

The Trip has become a cult classic and has gained a dedicated fanbase.

The film’s unique blend of comedy and travel has resonated with audiences around the world.

The movie offers a humorous commentary on the food and restaurant industry.

Steve and Rob’s comedic observations provide a satirical perspective on the culinary world.

The Trip features breathtaking aerial shots of the English countryside.

The aerial cinematography showcases the vast beauty of the landscapes visited by the characters.

The film’s success is largely attributed to the chemistry between Steve Coogan and Rob Brydon.

Their natural rapport and comedic timing elevate the film to another level.

The trip serves as a love letter to the British Isles, showcasing its charm and cultural heritage.

The locations visited in the film highlight the rich history and beauty of England.

The movie explores the concept of success and the pursuit of happiness.

Steve and Rob grapple with their achievements and question their paths in life.

The Trip is known for its humorous and entertaining celebrity impressions.

Steve and Rob’s impersonations of famous individuals provide laughs throughout the film.

The film has a naturalistic and unfiltered approach to storytelling.

It blurs the line between fiction and reality, creating an authentic and engaging narrative.

The Trip highlights the importance of food in culture and personal experiences.

Each meal serves as a catalyst for conversation and reflection.

The movie is filled with scenic drives and breathtaking landscapes.

The road trip element adds to the sense of adventure and discovery.

The Trip explores the themes of identity and self-discovery.

Steve and Rob’s journey allows them to confront their own values and priorities.

The film seamlessly blends reality with fiction, creating an intriguing narrative.

The line between what is real and what is fictionalized becomes blurred throughout the film.

The Trip offers a fresh and humorous take on the buddy road trip genre.

It breathes new life into a familiar formula, making it a standout film in its genre.

The Trip is a must-watch for fans of comedy, travel, and culinary delights.

With its sharp writing, stellar performances, and stunning visuals, The Trip has something to offer for everyone.

In conclusion, The Trip is a captivating and entertaining movie that has captured the hearts of many movie enthusiasts. With its brilliant cast, stunning cinematography, and thought-provoking storyline, the film offers a unique and enjoyable cinematic experience. Whether you’re a fan of comedy, drama, or even culinary adventures, The Trip has something for everyone. It is filled with unforgettable moments, witty humor, and an exploration of both personal and professional relationships. This movie is a true gem that showcases the talents of its actors and the skill of the filmmakers. If you haven’t watched The Trip yet, make sure to add it to your must-watch list, as it promises to take you on a journey that you won’t soon forget.

Q: Who are the main actors in The Trip?

A: The main actors in The Trip are Steve Coogan and Rob Brydon.

Q: What is the storyline of The Trip?

A: The Trip follows the story of two friends who embark on a culinary road trip across Europe, visiting various restaurants and indulging in delicious food while engaging in witty banter and humorous conversations.

Q: Is The Trip based on a true story?

A: The Trip is not based on a true story. However, it does feature real-life actors Steve Coogan and Rob Brydon, playing fictionalized versions of themselves.

Q: Is The Trip suitable for all audiences?

A: The Trip is rated R for language and some sexual content. Therefore, it may not be suitable for young audiences. Viewer discretion is advised.

Q: Are there any sequels to The Trip?

A: Yes, there are two sequels to The Trip. They are: The Trip to Italy and The Trip to Spain. Both films continue the adventures of Steve Coogan and Rob Brydon as they explore different countries and culinary delights.

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Full Cast of The Trip Actors/Actresses

The Trip cast list, listed alphabetically with photos when available. This list of The Trip actors includes any The Trip actresses and all other actors from the film. You can view additional information about each The Trip actor on this list, such as when and where they were born. To find out more about a particular actor or actress, click on their name and you'll be taken to page with even more details about their acting career. The cast members of The Trip have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with.

List includes Ben Stiller, Dennis Hopper and more.

If you want to answer the questions, "Who starred in the movie The Trip?" and "What is the full cast list of The Trip?" then this page has got you covered.

Dennis Hopper

Ben Stiller

Peter Fonda

Steve Coogan

Alexis Arquette

Jill St. John

Susan Strasberg

James Handy

Kerry Shale

Larry Sullivan

Steve Braun

Michael bennett.

Margo Stilley

Larry Bagby

Paul Popplewell

Faith Salie

Rosemary Alexander

Sirena Irwin

José eduardo.

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The Trip Reviews

This movie is not meant to be politically correct but if there is a line, Wirkola has definitely stepped over it.

Full Review | Jul 20, 2023

“The Trip” isn’t for the faint of heart. Some scenes are extremely intense and the further it goes the gorier the movie gets. Yet it’s all fused with this wicked sense of humor that often pops up in the most unexpected moments.

Full Review | Original Score: 3.5/5 | Aug 16, 2022

The Trip thankfully steps back from the sadness of a crumbling relationship and instead presents its chaotic flipside

Full Review | Original Score: 3.5/5 | Oct 28, 2021

Like a cross between My Poor Angel and Funny Games. [Full Review in Spanish]

Full Review | Original Score: 3/5 | Oct 27, 2021

This is a gruesomely graphic and pitch-black comedy-horror-thriller loaded with entertaining plot twists great and small.

There's a whimsical, Wes Anderson-like quality to the way Wirkola introduces characters and plot twists, though the tone is more Martin McDonagh with a dash of Quentin Tarantino.

Full Review | Original Score: A- | Oct 27, 2021

Bloody good fun, and damned bloody and damned funny in the bargain.

Full Review | Original Score: 3/4 | Oct 25, 2021

It inspires a few choking laughs, it's challenging in its unpleasantness, and it's likely to satisfy any iron stomachs who are up to the task.

Full Review | Oct 19, 2021

What then follows is 90 minutes of occasionally hilarious, sometimes gruesome, slightly queasy, but certainly inventive cinema.

Full Review | Original Score: 3/5 | Oct 19, 2021

The fights are violent, bloody, all in a pronounced tone of macabre and absurd humor. [Full review in Spanish]

Full Review | Oct 18, 2021

Unfortunately, while [its] concept promises a fun, agile thriller, "The Trip" all too quickly descends into a juvenile, nihilistic mess.

Full Review | Oct 14, 2021

A wild, zany ride that Wirkola and his cast are 100% committed to. At the risk of sounding cliché: you'll want to take this trip.

Full Review | Original Score: 3.5/5 | Oct 5, 2021

The film becomes a chaotic whirlwind of hilarious situations. [Full review in Spanish]

Full Review | Original Score: 4/5 | Oct 5, 2021

The Trip (2021)

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‘The Trip’ Review: Noomi Rapace Kicks Ass in Rip-Roaring Norwegian Dark Comedy

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[Editor’s note: The following review contains major spoilers for “The Trip (Onde Dager).”]

In real life, when married people say they think about murdering their spouse, most don’t actually mean it. In Tommy Wirkola’s devilishly fun black comedy “The Trip” (Norwegian title: “Onde Dager”), they do. Landing somewhere in a delicious Venn diagram between thriller, horror, and comedy, “The Trip” is a fast-paced joy ride that should make even the squeamish delight in a little bloodbath. Cheeky and inventive in equal measure, with brilliant performances all around, a whipsmart script and sharp pacing make “The Trip” one of the most fun watches of the year.

(Since much of the fun comes from an endless parade of rabbits Wirkola pulls out of his insane hat, knowing too much about the action could take the edge off. Consider yourself warned.)

The movie opens on a soap opera set, where a smoldering couple is fighting over an outrageous infidelity. “That’s right, I’m pregnant with your dead brother’s son’s baby,” a blonde actress cries, before the sleepy director calls cut. This is Lars (Aksel Hennie), a dissatisfied TV director whose career hasn’t worked out quite how he imagined. He’s heading to his family cabin with his wife Lisa ( Noomi Rapace ), where they plan to go hiking, a detail he makes sure to share loudly with anyone who will listen, including said blonde actress and his grouchy father. But when he stops by the hardware store for a hammer, saw, and rope, it’s clear he has other plans.

Exuding big “fabulous diva who hasn’t worked in years” energy, Rapace’s Lisa is dialed in from her first dramatic entrance. Sauntering down the driveway in a pink getup with sunglasses, hoop earrings swaying and gum popping, she hands Lars her purse as if he’s the help. With a final glance at the nefarious tools he’s squirreled away, Lars slams the trunk and the rocking title rolls. Buckle up, we’re in for a hell of a ride.

Once at the cabin, the couple needle each other about every little thing. They fiddle over the stove temperature, and when Lars won’t touch the raw steak he’s prepping, Lisa grabs it with her hands. Even their bickering is grounded in an all-too-relatable naturalism that feels forced in most on-screen marriages. After a tense dinner, Lars heads down to the basement to lay out his loot. Soon, he’s sneaking up behind Lisa, hammer in hand. It’s all so early in the film that it seems a prime fake-out. Perhaps he’s just planning some carpentry? But when he lunges at Lisa, she turns around and tases right him in the neck. Oh!

When Lars comes to, he’s tied up and, this time, Lisa is the one holding the hammer. When he admits he planned to kill her for her life insurance, she fesses up to her own similar plan. The camera swings to the left, and yellow block letters announce: “One Day Earlier.” This is the first of many quick flashes in the film, each one revealing information that upends the action in increasingly outrageous ways. It’s a clever trick, and it’s also one that’s never too indulgent. When the same technique introduces three escaped convicts with psychotic Three Stooges vibes, the fun has really only just begun.

There’s a whimsical, Wes Anderson-like quality to the way Wirkola introduces characters and plot twists, though the tone is more Martin McDonagh with a dash of Quentin Tarantino. Like the best McDonagh plays, the violence reaches wildly gratuitous levels without ever feeling like overkill. There’s comedy in the exaggeration, like the sound of brains plopping on the floor or a hand mangled by a boat motor. As the surprises roll in, the plot grows more and more outlandish, revealing the film’s full-on tongue-in-cheekiness. When Lars tells his father, bleeding out in his beloved hammock, “I just blew a guy’s balls off with a shotgun,” dad replies: “I’m proud of you, my son.”

Both seasoned Norwegian talents, Rapace and Hennie are wickedly good together. With her hair dyed a shade of trying-too-hard blonde, she milks humor from the desperate actress routine, despite sporting a quite successful career. Equal parts lumbering and lost, Hennie is the perfect blend of bumbling fool who looks like he could wrestle a mountain lion if he had to. With the right level of empathy and insanity, these two sell the emotion behind the couple’s bloody vitriol, eventually grounding the film in a satisfying human realness. There’s no risk of things turning maudlin once an old man has been shredded by a lawnmower, but it’s nice to find a little light at the end of this bloody, whirlwind tunnel.

“The Trip (Onde Dager)” is currently streaming on Netflix . 

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• #124 Best Movies from 2021 (no animation films)
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• "The Trip is a wild, zany ride that Wirkola and his cast are 100% committed to (...) you’ll want to take this trip (...) Rating: ★★★½ (out of 5)"  Trace Thurman : Bloody Disgusting
• "'The Trip' is occasionally fun, but other films have handled gleeful gore and psychological torture with a far more skillful touch"  Lena Wilson : The New York Times
• "Despite all the violence and blood, Wirkola still views Lisa and Lars with empathy (...) A pitch-black comedy that will satisfy action and horror fans (…) Rating: ★★★½ (out of 5)"  Audra Schroeder : The Daily Dot
• "Cheeky and inventive in equal measure, with brilliant performances all around, a whipsmart script and sharp pacing make 'The Trip' one of the most fun watches of the year"  Jude Dry : IndieWire
• "With The Trip featuring a marriage in crisis, the acting is on top form with moments that work well for its dark comedy approach. As a whole, though, there’s little to remember in this Norweigian film (...) Rating: ★★★ (out of 5)"  Jordan Russell Lyon : Ready Steady Cut
• "It’s extremely violent and bloody but also with very funny and weird moments. Tarantino craziness dialed into a Nordic twist. Hell, this is better than Tarantino (...) Rating: ★★★★ (out of 5)"  Karina Adelgaard : Heaven of Horror
• "Frequently funny, often hilarious, always clever and smart, and dependent entirely on the superb performances by Rapace and Hennie"  Peter Martin : Screen Anarchy

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• The Trip (film)
• All Subpages

The Trip is a 2002 gay romance period film that takes place in the 1970s and 1980s between two young men, Tommy and Alan. Tommy (Steve Braun) is a political activist in college during the 1970s, where at a party he meets Alan(Larry Sullivan), where Alan invites him to dinner. When he goes, thinking its a date, he actually finds out that Alan wanted to interview him for a book he is writing about homosexuals and that Alan has a girlfriend, the kooky Beverly(Sirena Irwin), who sees the chemistry between the two and leaves Alan.

The two become friends, but eventually have a fight, and Alan writes and publishes, under the advice of his attorney Peter(Ray Baker), his highly critical of homosexuals book, but as anonymous. Tommy comes to see him and they apologies are made. They become a couple, and we flash four years later to 1977.

Anita Bryant's crusade against homosexuality is going on full strength, and Alan's book is used as a tool to propel it. Its leaked that Alan was the writer, and his relationship and job are ruined. He ends up as a sort of pet for Peter, and lives there for the next eight years.

In 1984, Alan finds out Peter was the one to leak to the press that he wrote the book, and leaves, wanting to reunite with Tommy. They reunite, and take their dream of a road trip through Mexico, but Tommy is dying. As the road trip ends, Tommy dies, and Alan writes of the experience.

Not to be confused with the 2010 British comedy film of the same name.

• Bury Your Gays : [ context? ]
• The Gump : Alan's book helps fuel Anita Bryant's crusade on homosexuality. In reality, there was no such book.
• Invisible to Gaydar : Alan.
• The Seventies : Most of the film is set here.
• Queer Romance : Between Alan and Tommy.
• Road Movie : What the last act of the film is.

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When 19-year-old gay-rights activist Tommy and 24-year-old Alan first meet in 1973, they find themselves on the opposite sides of the political coin. Despite their many differences, they form a loving long-term relationship. In 1977, during Anita Bryant's crusade, an anti-gay book Alan wrote years before gets published without his consent. The book destroys Tommy's credibility as a well-known activist, resulting in Tommy and Alan's break-up. Seven years later, Alan is given a second chance, a reunion with Tommy and the opportunity to set things right.

Miles Swan's romantic comedy The Trip spans 11 years, charting the lives of two men through the Gay Rights movement of the '70s, the conservative backlash of the Reagan-era, and through the AIDS epidemic. Straight, Young Republican author Alan (played by Larry Sullivan) meets Tommy (Steve Braun), a Gay Rights activist, while Alan is completing his anti-gay book. Falling in love with Tommy, Alan tries to avoid publishing "The Straight Truth," but an alleged friend of Alan's underhandedly sabotages him by not only publishing it but also securing for it a place on the bestseller list. As a converted gay man, this enrages Alan and also ruins Tommy's credit as an activist, thereby breaking them up for several years during the '80s. Finally, the two do reunite to pledge their eternal love, though under tragic circumstances. Relevant gay rights news footage, from Stonewall for example, historically sets each segment in the film, making the movie more realistic and educational. Alan and Tommy's plight to fight for the acceptance of homosexuality takes on metaphorical significance, while other characters in the film, like Tommy's best friend, Michael (Alexis Arquette), and Alan's mother (Jill St. John), bring the narrative humor specific to The Trip back into focus. At times, the movie verges on corny, but for the most part avoids cliché. The satisfaction one gets from watching a deep relationship unfold over the years makes this coming-of-age tale a meaningful reminder that there is absolutely no justification for keeping any couples in love apart. --Trinie Dalton

Product details

• Is Discontinued By Manufacturer ‏ : ‎ No
• MPAA rating ‏ : ‎ R (Restricted)
• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 4 ounces
• Item model number ‏ : ‎ 807839000610
• Director ‏ : ‎ Swain, Miles
• Media Format ‏ : ‎ Color, NTSC, Full Screen, Widescreen
• Run time ‏ : ‎ 1 hour and 35 minutes
• Release date ‏ : ‎ December 9, 2003
• Actors ‏ : ‎ Alexander, Rosemary, Arquette, Alexis, Bailey, Dennis, Baker, Ray, Braun (II), Steve
• Subtitles: ‏ : ‎ English
• Studio ‏ : ‎ TLA Releasing
• ASIN ‏ : ‎ B0000DD75N
• Number of discs ‏ : ‎ 1
• #418 in LGBT (Movies & TV)
• #4,883 in Romance (Movies & TV)
• #13,683 in Comedy (Movies & TV)

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http://tvtropes.org/pmwiki/pmwiki.php/Film/TheGuiltTrip

Film / The Guilt Trip

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The Guilt Trip is a 2012 American road comedy film directed by Anne Fletcher, starring Barbra Streisand and Seth Rogen , who both also served as executive producers on the film.

Andy Brewster (Rogen), a UCLA-graduate organic chemist and inventor, visits his mother Joyce (Streisand) in New Jersey before leaving on a cross-country trip to Las Vegas. After his mother reveals that he was named after a boy she fell in love with in Florida named Andrew Margolis, and after a little research he discovers that there's an Andrew Margolis living in San Francisco, he invites his unknowing mother on the trip, claiming he wants to spend some time with her. The road trip quickly becomes hard for Andy as his mother continues to intervene in his life, but over time, Andy and Joyce begin to genuinely enjoy each other's company.

This film features examples of:

• All for Nothing : At least in regards of the search for Andrew Margolis, it turns out that the Andrew Margolis Andy's mother was talking about died five years before, and the "Andrew Margolis" Andy had found was actually his son, Andrew Margolis Jr.
• Bittersweet Ending : On one hand, Andrew Margolis was dead all along, so Joyce will not be able to clear the air with him. On the other hand, Joyce is assured that he thought about her in some way after being told he named his daughter Joyce; Andy is able to successfully pitch his product with Joyce's help; and Joyce and Andy's relationship grows much closer than they had been; plus Joyce arranges a date with Ben McGraw, the man she met during the trip.
• Dead All Along : It turns out that Andrew Margolis, Joyce's old flame, died five years ago, the "Andrew Margolis" Andy found living in San Francisco actually being his son, Andrew Margolis Jr.
• Road Trip Plot : The films is about a man and his mother having to go through a cross-country road trip. Hilarity Ensues .
• Signs of Disrepair : Andy and Joyce are forced to make a stop after bad weather makes the roads bad to see. They come upon "Capital City TOPLESS Restaurant" but the "LE" is burned out and the sign reads "TOP__SS" which Joyce mistakes for "tacos".
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'A Journey' review: A therapeutic trip to Tasmania

Shane (Kaye Abad), Bryan (Paolo Contis) and Kristoff (Patrick Garcia) had been the best of friends since their childhood. Kristoff became a famous film matinee idol and a playboy bachelor. Shane married Bryan and the two were very happy together, until she was diagnosed with breast cancer. After an arduous treatment regiment, she eventually recovered, but this toxic and stressful experience had caused them to be childless. 

Five years later, it was discovered that the cancer had metastasized to her lung. Afraid to undergo the same ordeal, she decided that she did not want to undergo chemotherapy all over again. Instead, she listed down a number of things she wanted to do with the remaining time in her life, calling it her "Magic List." While sad that Shane seemed to have surrendered, Bryan and Kristoff go all the way to help her check each item off her bucket list.

The pacing of director RC delos Reyes was quite fast in the first act, and kept the atmosphere light despite the serious topic. Within the first 10 minutes of the film, Shane was seen coughing blood out, clearly indicating a seriously ill protagonist. At this point, I dreaded that this would just go the usual lugubrious of most dramas about terminal illness. However, screenwriter Onay Sales-Camero sprung several surprises on us along the way. 

By the 30-minute mark, the three friends were already driving along the streets of Tasmania on their healing road trip. It was in this exotic island that the film took its time to let the drama simmer and overflow. It was delightful to see a Tasmanian devil, baby penguins, and a heartwarming surprise comeback by Jimmy Santos (as Shane's estranged father Mr. T). That beautiful scene set inside the church was the melodramatic highlight of the whole film.  

Abad, Contis and Garcia were all graduates of the '90s teen series "Tabing Ilog" and that would explain their easy natural chemistry with each other that made this film work perfectly. Abad has not been onscreen for five years already, but she has not lost her touch for drama. Contis was able to show off the range of his talents in playing the distraught husband Bryan. As Kristoff (or "Tupe"), Garcia was still his old charming self with his easy smile.

To further remind us of this "Tabing Ilog" connection, there were actually scenes of the three hanging around and having fun on a riverside dock. There was a surprise cameo of another "Tabing Ilog" actress in the epilogue. The song playing over the closing credits was the theme of "Tabing Ilog" originally written and sung by Barbie Almalbis as Barbie's Cradle, but this version is a cover by Vanessa Garcia.  

This film talks about cancer and who decides on what to do about it -- patient or family? In the midst of all the tearful declarations of love, there were uncomfortable statements made about selfishness. Is a patient selfish for choosing not to undergo any treatment? Is a significant other selfish for wanting the patient to undergo the painful surgery, radiation and chemo that he does not like? Surely, these are difficult decisions no one wants to have to make.

This review was originally published in the author's blog, " Fred Said ."