To break down 'The Wall' for you kids out there, it's a darkly surreal art piece that meditates just as much, if not more on metaphorical imagery than it does on the almost obligatory 'plot', which chronicles, in a non-linear fashion, the lonely youth and adulthood of fictional rockstar Pink through scarce dialogue, but instead, interpretive visuals and music from Pink Floyd's album 'The Wall'. or acid, this product gets to be a bit too trippy for its own good. It certainly makes for a better song than a movie, for although this film is enjoyable and worth a whirl, especially if you're a fan of Pink Floyd.

Wow, I'm wishing I was comfortably numb right now, because saying that hurt a little bit, and the Waters-Morrison cover isn't even that bad, it's just that it's not, you know, Pink Floyd's 'Comfortably Numb', though as I said, not a whole lot of songs are. Eh, whatever, the song's still a masterpiece of awe-inspiring proportions, because, man, few people can rock like Pink Floyd rocked with 'Comfortably Numb' not even Pink Floyd could rock like that again, as Roger Waters definately proved when he tried again in 1990, only with Van Morrison instead of David Gilmour. Okay, all of this dark sarcasm in the classroom aside, I'm not necessarily recommending that you do acid, but if you're going to stop Skittling around and really taste the rainbow, then you might want to be careful with your Pink Floyd song selection, just in case of a bad trip, because when you look at the lyrics to 'Comfortably Numb', they can be either really neatly trippy with their obvious drug references or a little bit depressing. Seriously though, Alan Parker isn't the chipperist Jones out there, so of course he's perfect to direct something as bleak as a partially animated showcase of Pink Floyd music that stars the guy from the darkly depressing, hardcore heartbreaker of a rock band that was The Boomtown Rats. This film is certainly less optimistic than 'Tommy', and really, I'm pretty surprised, seeing as how we're talking about Alan Parker, who, by 1982, already had such delightfully heartwarming classics under his belt as 'Midnight Express' and 'Shoot the Moon', and after this film, he continued to make such other uplifting fluff pieces as 'Birdy' and, of course, the most optimistic of them all, 'Angela's Ashes'.

It's 'Tommy 2: Still Gotta Be On Drugs to Get It', only it has less cheesiness, more bleakness and, somehow, less plot than 'Tommy'.

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