That was an excellent one.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

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

Every now and then I see a flick which really does appear to be one in which the scenarist/writer successfully got a message radioed in by a very pure channeling of the subconscious mind, then never got around to asking the subconscious what it was on about. In this case, the subconscious might have told the writer, "Oh, I need to get an important message to..." me; the guy writing the IMDb comment you're reading.Now, hang in with me here. I say "every now and then" for a reason. If flicks did this more often, I'd look into getting on meds. The point here is that there are just a few too many data points that touch on aspects of my life which... seem... (tho I could be wrong on this) *very* personal.Qohen is very much me. I suppose there may be more folks like me than I realize, and Gilliam & Co. thought to give my forgotten caste a little love, this go-'round.There are, of course, more general, social and technological commentaries which are are like a fish tank water in which swim many interesting species. But Qohen is an odd fish indeed, and very much reflects what I'm going though in my life.I think this flick languishes in the 6.x IMDb score doldrums because... well, for the same reason that a film pitched to my little demographic would bewilder most folks; just as I tend to bewilder most folks.It's a flick that yearns to reach out to all, even though it's not a universal story; how many people are thinking like Qohen?; that he can use the tools provided by an evolving hi-tech/hi-stimulation milieu and turn them to the effect of achieving Bodhisattva-hood? Essentially, building a raft from the flotsam and jetsam of a society that inhumanly bends you to its damnable rules and riding it down the existential maelstrom of ultimate negation, successfully, via the application of a perfectly understood principle?Technically, the film is an absolute wonder. Gilliam's famous penchant for swimming, kaleidoscopic detail is expressed very, very well here. I've always loved this. Also, for such a bizarre film, there's an aspect to production which is strangely "old school": Specifically, the script feels like a stageplay with a fingernail grip on discernible narrative, the actors driven by ogrelike forces to breathe life into it in spite of itself. Again, another cause for the film to alienate some, yet find a niche in my tired old heart; when done "right" this works for me, and by my lights it's done right here.

I had no clue what kind of movie I was going to watch before I saw Terry Gilliam's name in the opening credits. As soon I saw his name I knew it was going to be a weird movie. Nothing wrong with a bit of strangeness but with The Zero Theorem I was a bit disappointed. Because it's basically about nothing. It all has no point. If life has no point than this movie got it right. But to me it was just too confusing. I still give it a five because of the filming and the weird surroundings. And of course for the excellent acting of Christoph Waltz. He's a great actor and even in movies about nothing he stands out. But great acting and good filming don't mean necessarily a good movie. It was too pointless for me.

Director Terry Gilliam brings his trademark of bizarre, supernatural imagery to the spotlight in this science-fiction thriller that tackles on complex scientific and philosophical subjects including astrophysics, psychology, existentialism, and religious ordeals while adopting a surreal visual style that sadly tower over its narrative heft. Two-time Academy Award winner Christoph Waltz plays Qohen, a socially introverted computer operator living in a world where computers dominate just about everyone's day-to-day life and copes with his problems by seeking mental help from a therapist run by artificial intelligence. While at work, Qohen is invited to a party by his supervisor Joby (played by David Flewlis) where he meets quirky prostitute Bainsley (played by Melanie Thierry). As he develops a reluctant relationship with her, Qohen is tasked by a scientist named Management (played by solve the Zero Theorem: a scientific theory of the universe ending at absolutely ending, and receives the help from no one other than young computer hacker Bob (played by Lucas Hedges), but also distraction by his lover Bainsley who uses his research for personal purposes.Bizarre is probably the most accurate word to describe this film judging by its abnormal, quirky, futuristic production design as well as its surreal imagery and nifty costume designs even the most avid sci-fi fans don't see everyday. Terry Gilliam boasts a unique taste in visual heft that is too difficult to ignore, but the narrative generated by Pat Rushin's screenplay suffers at a wide scope. Though the plot kicks off with an astonishing, if complex premise, it's not long before it is lost in a sea of convoluted story elements dealing with its surreal and scientific complex themes. Throughout the entirety, the film tries so hard to build up a strong and intriguing story that tackles compelling concepts of existentialism , astrophysics, and religion as it deals with the main character solving the meaning of life (a plot shows resemblance to a verse in the Book of Eccesiastes) and doesn't shy away from being the complicated territory, but it gradually grows uneven and widely ambiguous, and at times severely unfocused. The romance between Christoph Waltz and Melanie Thierry should have been meshed with the story but ultimately gets increasingly distracting to the plot as the film fails balance this romantic subplot to the main plot. In the end, it not only resulted in many unanswered questions but a simply messy plot. The performances by Waltz and Thierry are decent and shine some redeeming quality to the picture, but the rest is set to leave viewers in a disappointment.The Zero Theorem is a bit of a disappointing entry by Terry Gilliam and isn't granted much justice by the cast performances, though they are strong enough to gain attention. This is a film that may please some, particularly fans of Gilliam but leave others with a cold shoulder.

Terry Gilliam has made at least two brilliant films in his career: 'Brazil' (written by Tom Stoppard) and '12 Monkeys.' Other Gilliam films have flashes of brilliance: 'Time Bandits,' 'The Adventures of Baron Munchausen' and 'The Fisher King' are each cohesive and very worthwhile. 'The Zero Theorem' fails on almost every level, starting (as most films do) with a terrible script. It is painful to watch a director fall so slowly and completely from such great heights. It is sad to see so many references to many of Gilliam's previous successes in this mess; it's almost as if Gilliam is saying, 'See? This is what I was once capable of.' I would give 'Zero Theorem' one star but some of the visuals of the film approach interesting. And I love 'Brazil' too much to ever fault Terry Gilliam to the level of just one star. Even for the terrible failure 'Zero Theorem' turned out to be.