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Great visuals, story delivers no surprises

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

an ambitious but ultimately ineffective debut endeavor.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Beautiful is the first word that comes to mind for me. Story telling in this movie is so well done, you can watch it several times and find nothing but confirmation. Shifts away from reality (through different kinds of animation) are used to ease in and out of the memories of an agoraphobe, reliving the story of what made him a shut-in; also signifying a reluctance to relive said story. The hand crafted animations and interesting characters in this well written story of the travels of two best friends add to the overall feeling of watching a well presented story unfold from the comforts of your couch (and your safe home) Love to detail, a really pleasant tempo and good actors weave a really well done picture.

Paul King worked on The Mighty Boosh, the much loved, surreal British TV show, so I hoped to get some of that in this. But alas not. Really the film is a road trip, one down memory lane as a obsessively compulsive agoraphobic man looks back on a trip through Europe with his best mate.On the trip they encounter a variety of characters including a young Spanish woman with whom he falls for and yet his friend beds. In the end through tragedy the man learns to see life differently and step into the outside world again.The film has so much potential, but it never seems to know what it's trying to be. British comedy is known for often being surreal, odd and quirky and this film tries to be all, yet it also tries to be too surreal, odd and quirky yet too clever, whilst never allowing the audience to engage with it's main characters who are either too placid or too grotesque. It also fails as it is never a serious drama, despite the elements of mental illness nor is it funny in a laugh out loud way or in a darkly comic way, instead you have a film that just drags along.One factor works in the film's favour and that is the production. Using surreal sets and backdrops, a snowscape inside a snow globe or a fairground made out of scrap metal, it is often a little overwhelming, but at times very clever. But at the same time the visual style becomes a little too much and draws away from the story line which may have come out better had the film used less quirk and more convention in telling it's story. Stick to the Might Boosh.More of my reviews at iheartfilms.weebly.com

The DVD for this film states that it stars the creme de la creme of English comedy talent. Wow, is this a depressing claim, i will deal with this first: Richard Ayoade was brilliant in Darth Mehrenghi and Nathan Barley, as was Julian Barrat, here however, although the material for their scenes is somehow clever and original, their 5 minutes on camera stay on the wrong side of a lame 2 minute sketch. Noel Fielding proves finally that he can act but his scene goes nowhere and instead we are left with the rotten yoghurt of English comedy for the majority of the film. Man, they could not have found two trolls with less screen chemistry. If the filmmakers had been actually trying to be obnoxious, became self aware and wrote it into the film i might have understood, I kept waiting for a sense of "this is what we intended". But this never happened because these guys are meant to be likable. Its not just that there performances are weak; they don't do anything which seems like they even enjoy each others presence. Anyway, I feel that this school of English humour has taken the risky freeform agenda of Python and mixed it up with a strange Chris Morris style darkness. The point of Morris is, as I paraphrase from a recent interview, not to do comedy and try and make people laugh, but to be funny accidentally. Well this movie was not funny in the slightest or dark and edgy although it tried to take the "oh the little things make life beautiful" nuance from Amelie and crash it headlong into the hollow grace of Being John Malkovich. The story was self indulgent neurotic brain theatre without a strong enough lead to compel any sympathy from me. Really, the lead Edward Hogg seems like a good actor, but he was given terrible direction from a director clearly obsessed with the visual feastyness of it all. The visuals are clever to an extent. Interiors are generated out of subconscious imagery and exteriors seem far away dreamlike, and it seems like the entire film could have been shot on one set. This I liked and added a nice theatre design touch to a movie. However when it goes over the top, for example with the motion capture models and the computer animated landscapes, I felt like the thing became unwelcoming, and no longer compassionate to its audience: The world we are shown is more ugly than magical, yet somehow we are made to believe that this is some kind of wonderland-Gilliamesq-Quay Brothers- fairy-tale universe that we would want to be a part of. An audience should want to go on the journey the films protagonists undertake, yet their trip was self-inflicted monotony with no silver lining, thus alienating anyone who dared to feel empathy for the films core which is essentially blib bla bloop. 2 stars out of 10 for the condom dispenser joke.

Probably one of the most anticipated movies of the year for me. The trailer really didn't do the movie justice. The story is essentially an adventure/drama (with a few comedy touches) but there's no denying that it's marginally darker than pretty much anything from the Mighty Boosh (if that's what you're expecting). The movie's visuals have pretty much been mentioned in every review, and they're are a very important part of the movie: fantastical, naive, fairytale-like, psychedelic. The movie never really lapses into reality for longer than a few minutes, which really plays into King's style of directing. The lead characters are really charming and believable, but the writing, especially the dialog was really lacking. It's almost impossible not to compare King's writing to Barrat/Fielding's because of the nature of the film and many characters being played by the cast of the show and it really doesn't compare in my opinion. However it's still a really touching and enjoyable film that has some of the most inventive visuals I have ever seen.