I like the storyline of this show,it attract me so much

Let's be realistic.

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

This is a very naughty movie. Many times I said to myself, "Did I just see what I thought I just saw? No, it couldn't be." It celebrates anuses, penises, anal sex, 69, promiscuity, alcoholism and death. The animation is very cleverly done to give you the subjective impression of seeing the world from inside Graham Chapman's head. Everything just sort of flows, the way ideas flow.There is one big catchy musical number with words that summarises the cheeky raunchiness:Sit on my face and tell me that you love meI'll sit on your face and tell you I love you tooI love to hear you oralizeWhen I'm between your thighsYou blow me awaySit on my face and let my lips embrace youI'll sit on your face and then I'll love you trulyLife can be fine if we both sixty nineIf we sit on our faces in all sorts of placesAnd play till we're blown away

I'm a big fan of the Pythons but before watching this pretty much all I knew about Graham Chapman's life was that he was an alcoholic and gay. Sadly, after watching the film, that still seems to be pretty much all there was to him.A series of animation teams take us through Chapman's life from birth to death and with varying degrees of success, all with Chapman's narration. The visuals are mostly good and help to keep interest but anyone looking for insight will be disappointed. A self-indulgent sequence about Chapman's drinking withdrawal covers well-trodden ground and the repeated jokes about penises and ejaculation soon wear thin. OK, he was gay - we get it! The directors make the mistake of trying to be Pythonesque but nearly all the gags fall flat, while the storytelling gets lost and the timeline muddled. Chapman was a great performer and writer, but you wouldn't know it from this, which moves his art largely to 3rd place behind alcohol and being gay. A writing trip with Cleese seems happy to say Cleese did all the hard work on their projects while the sort of roles that gave Chapman the Hollywood lifestyle are brushed over.Perhaps a better approach would have been to include archive footage and new materials, to explain things and provide context and perspective. Ultimately, this is just an unsatisfying film from some well-meaning Python fanboys.

A Liars Autobiography is a celebration of the life of the elusive and eccentric Graham Chapman. The film is narrated by Chapman himself (he had recorded audio tapes of his memoirs) and the animation alone is a visual feast. It varies in style which suggests that aside from the obvious comedy, the film is much more perceptive and sophisticated than on first glance. Chapman led a surreal life and was known by the people that knew him as anything but one dimensional. The film depicts just that as well as the reality that perhaps Chapman himself didn't really know who he was. The sequence I most enjoyed was the one depicting Chapman's alcohol withdrawal symptoms, handled with sensitivity and complemented by the eerie & Burton-Esq animation of insects crawling around Chapman whilst he lies in bed, this is a sequence that adds yet another layer to Chapman's identity. You don't need to be a Monty Python fan to appreciate this film; its sheer brilliance lies in the animation and it's psychedelic depiction of one of the most iconic Pythons. A pleasurable watch, highly recommend.

Graham Chapman was erratic, flamboyant and, so close friends attest, somewhat unknowable. Before his death in 1989, The comic and Monty Python member completed a bizarre book full of his singular humour, formative experiences recounted in typically skewed fashion, surreal fabrications, and hints towards his struggle with alcohol (he was known to drink several pints of gin daily).As animation producer Justin Weyers disclosed during the aforementioned workshop, the production team, headed by directors Bill Jones, Jeff Simpson and Ben Timlett, required a certain scope and diverse approach to do justice to the subject matter. What resulted is a patchwork of various animation methods from fourteen different creative teams, helped along the way by vocal contributions from the Pythons, and sewn together with occasional film and interview clips.The film leaps briskly between animation methods, including cell techniques and stop motion, all converted into stereoscopic 3D. This may sound a jarring and disparate visual style, and it sometimes is. But the piece is helped enormously by the audio narration Chapman recorded of his book, which ties the threads together and drives the whole thing along. There is a clear standout aesthetic, achieved by oil painting every frame onto glass. Wielding rich, textured results, this visual style illustrates the darkest portion of the film, concerning Chapman's attempts to confront his alcoholism. These scenes were so striking it's almost a shame when the section utilising this method drew to a close, other animation styles seeming comparatively flat.Other highlights arrive in the form of recounted Python meetings in which the comics are for some reason reimagined as monkeys, comically graphic sex scenes, and surreal flights which variously find the comedian wandering around space, and sipping spirits with the Queen. There's an evident attention to craft throughout.As to be expected from this sort of project, there are sections which don't work as well as others. A stern talking to from a stop motion Sigmund Freud, voiced by Cameron Diaz (who else), is a disappointingly dry episode. On the whole, this is a camp and absurd, sensitively crafted film, at turns irritating, but ceaselessly creative; a fitting tribute to an unpredictable, distinct talent.www.theframeloop.com