This beautifully crafted gizmo looks like the kind of thing you might find in Diagon Alley. The difference is you use it to control your telly, Sky, digibox, stereo or any other infra-red device via various abracadabra-ish gestures. Simply swish, whirl and flick to change channels, adjust volume and much more.

Totally button-free, the Wand can ‘learn’ up to 13 infrared codes from your existing remote(s) and transmit them when you perform one of 13 predefined gestures. You can assign various functions to various moves: flicks to turn on and off; spins to control volume; big swishes to mute and so on.

To add to its supernatural nature, the Wand also features a ‘heartbeat’ in the form of various pulses that confirm gesture recognition and tell you when the batteries are low. It even goes into sleep mode after 60 seconds of inactivity and ‘wakes’ when you pick it up. Gorgeously packaged in a smart presentation box, the Wand is set to become the remote control of choice for any gadgeteer with Potter-esque aspirations. So don’t be a Muggle, get ordering. It’s totally wizard!
Battery Requirements:

* Requires 2x AAA batteries (not included)

Dimensions:

* Wand measures 35.5cm(L) x 2cm(D)

Features/functionality:

* 1 – Rotate anticlockwise (typically used for “volume down” function)
* 2 – Rotate clockwise (typically used for “volume up” function)
* 3 – Flick upwards
* 4 – Flick downwards
* 5 – Flick left
* 6 – Flick right
* 7 – Tap on top
* 8 – Tap on side
* 9 – Big swish
* 10 – Push forward
* 11 – Pull back
* 12 – Double tap top
* 13 – Double tap side

Modes:

* Practice mode – allows the user to practise making the gestures and verify that they have been recognised correctly before learning associated IR data.
* Sleep mode – the wand will enter a low-power sleep mode after 60 seconds of inactivity.
* Learning mode – you can teach it one or more new codes for any of the possible gestures.

• Simply swish, whirl and flick to change channels, adjust volume and much more. Incredible!
• Totally button-free, the Wand can ‘learn’ up to 13 infrared codes from your existing remote(s)
• You can assign various functions to various moves: flicks to turn on and off; spins to control volume; big swishes to mute and so on.
• Also features a ‘heartbeat’ in the form of various pulses that confirm gesture recognition and tell you when the batteries are low.
• It even goes into sleep mode after 60 seconds of inactivity and ‘wakes’ when you pick it up.

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When Goldie Hawn recommended Elizabeth Berkley for a small role in First Wives Club, she publicly stated that Berkley deserved the opportunity to redeem herself after starring in the ridiculous Showgirls. That says it all: this sleazy, stupid movie, which mixes soft pornography with the clichés of backstage dramas, is the kind of project an aspiring actress would have to put well behind her to keep a career going (though co-star Gina Gershon certainly benefited from her, uh, exposure in the film). Berkley plays a drifter who hitches a ride to Las Vegas, becomes a lap dancer and then a performer, and discovers–gasp!–there’s a whole world of sex and violence involved with these things. Gershon is probably the best element in the film, playing Berkley’s bisexual rival for the big spotlight on stage. Joe Eszterhas was well overpaid for writing this howler, and director Paul Verhoeven (Basic Instinct) should have known better than to take it seriously. –Tom Keogh, Amazon.com

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Black comedies don’t come much blacker than cult favourite, Harold and Maude (1972), and they don’t come much funnier either. It seems that director Hal Ashby was the perfect choice to mine a load of eccentricity from the original Colin Higgins script, about the unlikely romance between a death-obsessed 19-year-old named Harold (Bud Cort) and a life-loving 79-year-old widow named Maude (Ruth Gordon). They meet at a funeral, and Maude finds something oddly appealing about Harold, urging him to “reach out” and grab life by the lapels as opposed to dwelling morbidly on mortality. Harold grows fond of the old gal–she’s a lot more fun than the girls his mother desperately tries to match him up with- -and together they make Harold and Maude one of the sweetest and most unconventional love stories ever made. Much of the early humour arises from Harold’ s outrageous suicide fantasies, played out as a kind of twisted parlour game to mortify his mother, who has grown immune to her strange son’s antics. Gradually, however, the film’s clever humour shifts to a brighter outlook and finally arrives at a point where Harold is truly happy to be alive. Featuring soundtrack songs by Cat Stevens, this comedy certainly won’t appeal to all tastes (it was a box-office flop when first released), but if you’re on its quirky wavelength, it might just strike you as one of the funniest films you’ve ever seen. –Jeff Shannon, Amazon.com

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You know you’re going to get a different kind of superhero when you cast Robert Downey Jr. in the lead role. And Iron Man is different, in welcome ways. Cleverly updated from Marvel Comics’ longstanding series, Iron Man puts billionaire industrialist Tony Stark (that’s Downey) in the path of some Middle Eastern terrorists; in a brilliantly paced section, Stark invents an indestructible suit that allows him to escape. If the rest of the movie never quite hits that precise rhythm again, it nevertheless offers plenty of pleasure, as the renewed Stark swears off his past as a weapons manufacturer, develops his new Iron Man suit, and puzzles both his business partner (Jeff Bridges in great form) and executive assistant (Gwyneth Paltrow). Director Jon Favreau geeks out in fun ways with the hardware, but never lets it overpower the movie, and there’s always a goofy one-liner or a slapstick pratfall around to break the tension. As for Downey, he doesn’t get to jitterbug around too much in his improv way, but he brings enough of his unpredictable personality to keep the thing fresh. And listen up, hardcore Marvel mavens: even if you know the Stan Lee cameo is coming, you won’t be able to guess it until it’s on the screen. It all builds to a splendid final scene, with a concluding line delivery by Downey that just feels absolutely right. –Robert Horton

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When Goldie Hawn recommended Elizabeth Berkley for a small role in First Wives Club, she publicly stated that Berkley deserved the opportunity to redeem herself after starring in the ridiculous Showgirls. That says it all: this sleazy, stupid movie, which mixes soft pornography with the clichés of backstage dramas, is the kind of project an aspiring actress would have to put well behind her to keep a career going (though co-star Gina Gershon certainly benefited from her, uh, exposure in the film). Berkley plays a drifter who hitches a ride to Las Vegas, becomes a lap dancer and then a performer, and discovers–gasp!–there’s a whole world of sex and violence involved with these things. Gershon is probably the best element in the film, playing Berkley’s bisexual rival for the big spotlight on stage. Joe Eszterhas was well overpaid for writing this howler, and director Paul Verhoeven (Basic Instinct) should have known better than to take it seriously. –Tom Keogh, Amazon.com

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