Zero Theorem review

Terry Gilliam poses existential questions in this science fiction companion piece to Brazil and Twelve Monkeys…  

Qohen Leth, played by Cristoph Waltz (Inglorious Basterds) is a reclusive computer genius that works for the management. His job is to solve the Zero Theorem of the title, a complex mathematical formula, which proves that existence is meaningless. Having accidentally hung up on a call from a higher power, he awaits a ring back from above to tell him his reason for living. Meanwhile, he claims insanity in attempt to get out of work, and is visited by Bainsley, a seductive woman played by Melanie Thierry (The Princes of Montpensier), and Bob, the teenage son of management, played by Lucas Hedges (Moonrise Kingdom).

Where does a reviewer start with a Terry Gilliam film? There was a time when audiences met the arrival of a new Gilliam with much anticipation, after – arguably flawed – classics like Brazil, The Fisher King and Twelve Monkeys, even the box office flop The Adventures of Baron Munchausen has stood the test of time well, but not since Fear and Loathing in Las Vegas has he made a good film. The Brothers Grimm was mediocre, this reviewer never even bothered with Tideland, but, if reviews are anything to go by, it’s a good thing I didn’t.  I gave him another chance with The Imaginarium of Doctor Parnassus, mainly because it featured Tom Waits, but from what I recall that film was a mess.  At least in that instance he could be excused, as it was beset with the untimely demise of its lead Heath Ledger. I was hoping Gilliam would have redeemed himself with his latest. Unfortunately, he doesn’t.

It starts promisingly with stylish titles over a shot of a black hole. We are then presented with the shaven headed protagonist, nude at his computer console, echoing Bruce Willis in Twelve Monkeys.  There is little discernible dialogue for the large part of the first segment.  Outside the confines of Qohen’s disused church of a home, Gilliam’s world is presented as a garishly wacky vision of the future, somewhere between the graffiti strewn streets of Twelve Monkeys and Luc Besson’s The Fifth Element. Qohen works at a mysterious console which is powered by cycling.  His supervisor, Joby, is played by David Thewlis (Harry Potter) who is forever onto him about meeting his targets.  He tries desperately to gain a meeting with Management, played by Matt Damon (Elysium), so he can gain sick leave.  At one point he enters a large chamber, evocative of Brazil, another he meets a medical committee redolent of the psychiatrists in Twelve Monkeys. Throughout, the camera distorts with wide angles and Dutch shots to convey his mental instability, in the vein of ‘Fear and Loathing’, but where that film was effective at conveying the drug induced state, this time proves too disorientating.

He finds himself at a party where he is promised that he will meet Management.  Proceedings unfold haphazardly, leading him to the alluring Bainsley, who for the most part proves to be little more than a shallow sex object.  He happens upon Management, where an all too brief interaction occurs, beyond that I’m not too sure what happens. Proceedings aren’t confusing in an unconventional plotted ‘Memento’ kind of way, but rather an unstructured mess. Admittedly, the sets are well dressed and you’re interested enough by this alone to keep watching, but mainly to see if the film will improve. People come and go with little reason and their dialogue is nonsensical.  In many parts I thought there was something wrong with the cinema speakers as the words were barely audible.  I swear at one point a character said ‘is that joke over now?’ after belabouring one line for the first third of the movie.

The acting range consistently from mediocre to downright bad, with the exception of Matt Damon’s all too brief appearances. Particularly bad is Tilda Swinton as Dr. Shrink-Rom.  Just when you think it couldn’t get any worse, she raps. Lucas Hedges is not strong enough an actor at his age to carry his scenes.  If I was being generous I would say that he made an admirable attempt at mimicking Brad Pitt’s delivery in Twelve Monkeys, which is a kind way of saying he was unsuccessful.

What there is of a plot is minimal. Qohen breaks his computer, Bob turns up and fixes it (or was it Joby?) they order pizza a couple of times, a strange couple in cowboy hats come and go, he engages in a virtual reality fantasy on a desert island with Bainsley, they split up, he realises the call was never coming and jumps into the mainframe, only to find himself alone on the island frolicking to a cover of Radiohead’s Creep. The whole thing feels self-indulgent, even gratuitous; it’s minimal nudity seemingly in place only to titillate teenage boys. The computer graphics look cheap and dated, too.  What’s more of a wonder than how fantastically bad it was is how I managed to sit through the whole film.

Neil Milton