The fourth go around in Rob Brydon and Steve Coogan’s travel comedy adventure hits many familiar beats, but The Trip to Greece still proves to be an entertaining and surprisingly tender exploration of fame, ego, and friendship.

Michael Winterbottom’s The Trip series of productions has made its mark as well made and performed entertainment. It is clear, though, that all trips must come to an end, which The Trip to Greece does with suitably understated flair.

The fourth production (made for TV, edited into a feature length movie) begins in the same fashion as the others: friends and friendly rivals Steve Coogan and Rob Brydon (playing versions of themselves) are asked by The Observer to trace the steps of a popular literary source in an exotic part of the world. This time Brydon and Coogan use The Odyssey as their tour guide, venturing through several hotspots in Greece and its numerous islands.

Through much of the movie Winterbottom does not stray far from the formula that made The Trip series such a joy. Coogan and Brydon drive through various scenic routes, dine in local restaurants, and riff off one another with an assortment of anecdotes, put-downs, and feats of knowledge. Then of course are the impressions, which made The Trip go “viral” during its first inception. This fourth instalment features dealing Dustin Hoffman’s, a butchering of Marlon Brando, and a Ray Winstone revival. Just like before, its is a hoot to watch.

What is interesting is the changing dynamic between these on-screen versions of Coogan and Brydon. Where previous Trip’s saw Coogan with an almost disdain of Brydon’s talents, the rising profile of Brydon’s popularity and Coogan’s mellowing with age (somewhat) see’s Coogan a tad more complimentary, and even cackling with laughter at Brydon’s enthusiastic dips in and out of impressions.

Like all great dynamic duos, Brydon and Coogan bring different strengths to the screen. Brydon brings energy and an optimism that is infectious, if not grating at times. Coogan, particularly with this fourth instalment, brings a depth that is both refreshing and surprising. The films final 10 minutes or so features Coogan’s best work in the series, while also bringing this last, and perhaps final chapter, in an entertaining and slyly thought-provoking series to a satisfying end.