Cemetery Junction is a 2010 British coming-of-age comedy-drama film written and directed by Ricky Gervais and Stephen Merchant.

Freddie wants to escape their working class world but cheeky chappy Bruce and kind-hearted slacker Snork are happy with life the way it is.

When Freddie gets a job as a door-to-door insurance salesman and bumps into his old school sweetheart Julie, the gang is forced to make choices that will change their lives forever.

Snork just lives for spending his time with Bruce and Freddie, working at the railway station and looking for a girlfriend, a search hindered by his lack of social skills.

Freddie rekindles his friendship with Julie, who reveals her dreams to see the world and become a photographer, but her father and fiancé Mike both expect her to become a housewife, like her mother.

Freddie is invited to his firm's winner's ball to celebrate his and several others' company initiation and brings Bruce and Snork as his guests.

In the club, Bruce starts dancing with a black woman, for which he is ridiculed by two men, provoking him to assault them and get locked up in the police cells overnight.

When Freddie arrives at the railway station to begin his travels, he finds Snork ready for work, having decided to stay and they say an emotional goodbye.

The film was originally titled The Men at the Pru, a colloquial term (and later an advertising slogan) for agents of the Prudential insurance company.

[9] In an interview with BBC Radio 2's Danny Wallace on 9 January 2010, Merchant stated the script was loosely based upon the lyrics of the Bruce Springsteen song "Thunder Road".

But Cemetery Junction is not only based on my memories of my most formative years but it feeds on the most fundamental things in the making of a man: family, economics, the time and place you happened to be plonked in.

The website's critics consensus reads: "It fails to challenge the well-established conventions of its storyline, but Cemetery Junction benefits from the genuine warmth of its script, as well as its refusal to give in to cheap nostalgia.

[15] Adam Smith of the Radio Times commented that "it's deftly written, unobtrusively directed and nicely acted" and also gave it three stars.

[19] Andrew Barker of Variety wrote, "It's a strange hybrid of a film, boasting loudmouth boorishness instead of wit, and fortune-cookie schmaltz instead of heart.