Directed by the Mighty Boosh’s Paul King, Bunny and the Bull was billed as Boosh on the big screen, but in truth it’s a much gentler affair and the Boosh crew’s cameos are by far the funniest things in it. It’s essentially a buddy road movie told in flashback, as the protagonist’s memory is sparked by objects within his obsessively-ordered flat, an image representing his mind. As a framing device the flat doesn’t really work; it feels mannered and disrupts what little pace the film might otherwise have had. Bunny and the Bull also suffers from characters who are unsympathetic and unbelievable, an alter ego theme that goes nowhere, and a meandering script that's far less witty and surprising than it thinks it is. The film's most appealing and most inventive element is its handmade appearance; doodled backdrops and playschool effects just about make you warm to what is otherwise a rather pedestrian tale.
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