Such a frustrating disappointment

Sorry, this movie sucks

This movie feels like it was made purely to piss off people who want good shows

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

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 "Mighty Boosh" King storms onto the silver screen with a cavalcade of imaginative imagery, from a snow globe mountain retreat to a clockwork bullfight, but then attempts to meld it all with an atrocious script, which is at times inane, elsewhere sentimental, and riddled with boring f-bombs. The dialogue is full of jokes but empty of wit or insight.Broadly (and it often is) the film is about a traumatised and possibly agoraphobic young man named Stephen who musters a lo-fi Euro road trip in his head, the landscape and characters forged only by the contents of his apartment. If it sounds like Amelie then that's because it is like Amelie, right down to the rippling piano score. Difference is, Amelie, under its sugary shell, contained pathos and humanity, and its surreal digressions were complementary to a solid and coherent plot.King's film is a cauldron of slapstick, surrealism and homosexual tension, all stuttering along on the power of a pair of lifeless performances. As a viewer all we have to root for is the soppy, infantile Stephen (Edward Hogg) and the crass, infantile Bunny (Simon Farnaby).There's an almost amusing turn from Richard Ayoade as a bored shore museum curator. Noel Fielding's matador cameo shows promise then descends into a loud nothing.Woven well into the wayward narrative, the animated asides are arresting in a Lloyd's TSB ad kind of way, providing welcome respite from the highly variable sketches in between. But ultimately they only serve to remind us of the talent that's going down with the ship. It all comes across as quite "random"; except we know it's anything but. It really was meant to be this way.The whole venture reaches its nadir with a homeless zoophile who drinks milk from a dog, at which point you may wish to follow Bunny and leap through the frozen ice to save yourself.

Plot: Two friends take a road trip through Europe.Thank God the UK Film Council was abolished, considering it was funding such repulsive tripe as this. The film is a self-indulgent mess that confuses quirkiness for humour. The jokes are uniformly terrible, the nadir being a sideways shot of a flaccid penis that is supposed to provoke laughter. The lead is a perpetual adolescent, a whining bore who won't stop sulking about his failure at life. I wanted nothing more than to reach into the screen, slap him and tell him to pull himself together and stop being such an infernal wuss. That the script seeks every opportunity to degrade and humiliate him provides no emotional sympathy, whilst revealing a deeply unpleasant streak in the film makers. The plot is predictable and the 'wacky' characters tiresome - with quirkiness used to try and disguise the lack of depth to both. There are one or two visually interesting moments using the home-made arts and crafts aesthetic dear to hipsters but it never matches the wild abandon of 'The Mighty Boosh', which is its clear influence.Worth no viewings.

What makes this film absolutely sublime is the lingering melancholy - faint yet stubbornly persistent - ubiquitous through all the quirky, surreal, and comical sequences. It's never self-indulgent or over-sentimental. All elements, be it emotions, performances, sets, character development, or animation, are well-controlled and contained as a proper English would have it; yet it's radical, outrageous, bold, and sometimes uncomfortably daring. Elegance rises through vulgarity, and (almost unbearable) sadness screams silently. This film is unique, delightful, touching, funny, and yes, wicked. It's not Boosh but fans or otherwise shall be pleasantly surprised.