Zero Theorem

There's a black hole swirling at the bottom of Qohen Leth's (Christoph Waltz) soul. He's waiting for a phone call from God, explaining the point of it all. Because at the moment it seems like existence is an erroneous quirk in the cosmic standard of nothingness. Everything will return to nothing, so why make something of life? Love, in the form of romance (Melanie Thierry as Bainsley), friendship (David Thewlis), and parenthood (Lucas Hedges) provides Qohen with the answers, but he's too absorbed in his work on the "Zero Theorem" to accept it.

There are elements of David Cronenberg's Cosmopolis in Qohen's philosophical quest, in the oddball characters he meets along the way, and his perennial absence of feeling. And in the Zen imagery of a nude Waltz spiralling through the void, there's a bit of Darren Aronofsky's The Fountain. Both of those films were more coherent and emotionally engaging than The Zero Theorem, although Terry Gilliam's film grows on you, once you accept that it's not Brazil Part II. There are definite touches of Gilliam's 1985 masterpiece here, particularly the awkward marrying of archaic and ultra-modern technologies. But don't expect a script of Tom Stoppard wit, swerve, and clarity.

Waltz is a fantastic presence – which is necessary, because most of the story plays out in his home: an echochamber of a converted church, whose baptismal font now serves as a washing up bowl. We see him at work, attempting to order the universe via a 3D game block game, fighting against entropy; against the inevitable demise of conscious matter and with it the question: What does it all mean? The problem is, he's waiting for an answer. The very point is uncertainty, the propulsive force of our species.

Whether all this makes for a particularly cinematic experience, I'm not sure. The Cronenberg and Aronofsky films I mentioned were successful because, for all their vast questions, their focus was narrow and their plots simple. The Zero Theorem is at its best when at its least manic – perhaps, its least 'Gilliam-esque' – lost in the quiet intimacy between Qohen and Bainsley. Like Wes Anderson's latest, this feels like the film of an auteur fighting against two opposing impulses. The results, particularly when seen as a straightforward study of depression, are interesting, if not entirely successful.

Terry Gilliam never makes a totally bad movie (except Jabberwocky, I mean omg). His movies always have a unique visual style and fantastical feel to them.

Though Zero theorem is one of the weaker stories he has told. At the end of the movie the bad guy has to literally explain the movies plot in a monologue, that's how bad the plot is. Brazil or 12 monkeys never felt the need to explain their own plot; you got everything you need to know from actually watching the movie.

So yeah, if you are a die hard fan of Gilliam you should watch it, other wise watch Brazil or 12 Monkeys.

Terry Gilliam is back with one of his better films in recent years. It's also one of his more philosophical films, as it grapples with many deep questions, including the meaning of life itself. Gilliam calls "The Zero Theorem" the third instalment in his dystopian satire trilogy, which began with "Brazil" in 1985 and was followed by "Twelve Monkeys" in 1995.

"The Zero Theorem" follows the story of Qohen Leth, a number-crunching programmer at a large corporation called Mancom. While struggling with life in general, Qohen is given the job of solving the zero theorem, a mysterious mathematical equation that continually eludes his grasp. The task is complicated by some new personal relationships when he meets Bainsley, a tempting Internet stripper, and Bob, the 15 year old, genius son of the CEO of Mancom. Have they entered his life to help Qohen, or are they merely unnecessary distractions from his work? Qohen is often unsure about the answer to that question.

The world of the film resembles that of Gilliam's previous two dystopian satires, but this is its own film and it deals with some new themes and conflicts. I'd say the themes and questions are even deeper here, because Gilliam is struggling with the meaning of life itself. Anyway, it all works and leads to an intriguing and visually engaging story. "The Zero Theorem" gets a big thumbs up from me. You should definitely check out this one, especially if you're a fan of Gilliam's earlier work.

"The Zero Theorem" (TBC) Director: Terry Gilliam. Starring: Christoph Waltz, Matt Damon, Mélanie Thierry and David Thewlis. Rated: TBC Running time: 107 minutes. Release date: 2014.

Set in the near future, Qohen Leth (Christoph Waltz) is constantly sat at his computer, working. Never able to enjoy his life, Qohen is constantly waiting for the a phone call, which he believes, will describe the purpose of his life. When re-assigned to work on 'The Zero Theorem' program at work, he begins to realise what life is really about.

Every year the BFI (British Film Institute) organises a brilliant event, named the British Film Festival. At the festival, film is honoured in spectacular form, with films being submitted from all over the world, including Britain.

Unfortunately (due to unforeseen circumstances) , I was only able to watch one film. I'm just glad it turned out to be, "The Zero Theorem".

Terry Gilliam ("Life Of Brian" and "The Brothers Grimm") has been directing films since 1968. Often though of (by me anyway!) as the director who defines, 'cult' films and nicknamed Captain Chaos, Gilliam constantly surprises audiences with audacious pieces of cinema; which really do entertain.

In recent years, Gilliam's works have (arguably) become slightly worse, than his more fresh and original films, such as "Brazil". From mystical beasts to a story following a travelling theatre company, Gilliam just hasn't delivered a fine piece, for at least fifteen years. Thankfully, we can put those mistakes behind him; as, "The Zero Theorem" is a fantastic ride.

Approaching this storyline with stunning visuals and and an addictive style, "The Zero Theorem" has a plot which may not explore it's ideas to a further degree, but entertains extremely well.

The film is quite daring, because it talks about exploring the purpose of life and the effects that it might leave on certain people. Nothing quite like his past efforts, Gilliam approaches this piece lightly and lets the film develop slowly as it goes along.

The cast are exceptional, with Christoph Waltz delivering an often comedic performance, that frequently mirrors the portrayal of his character (Dr. King Schultz) in "Django Unchained". Mélanie Thierry plays Bainsley (A future type of prostitute) in an entirely believable role, which often proves how good an actress she really is. Matt Damon also acts well with his short, but pivotal role as 'Management' in a commonly bewitching cameo.

Gilliam has delivered a long-awaited return to Sci-Fi, which repeatedly bewilders, in that classic Gilliam style, which is set to dazzle the least likely of Sci-Fi fans.

7 stars out of 10.

Written by Scott Gentry.

This film is entertaining, but even though I like Terry Gilliam, there is just something missing. Possibly it's a point. The film has NO point. Maybe that's the point?

But for the whole length of it we are convinced there will be some kind of redemption, some kind of explanation, some kind of reason to watch the damn film in the first place.

Most of it just seems to be ticking boxes for Terry. Awkward protagonist, dystopian future, love interest, people in silly costumes, lots of colours, steam-tech gear, and strange delivery-people.

Yeah and... yeah, where's the point, again? One bit of visual eye-candy I liked was the data-representation system, but I can't describe it here, for the sake of those who haven't seen the film yet.

Look, it's not a crap film, it's just not blindingly evocative and moving. It's certainly no Brazil even though it has things in common (and its a LOT more cheerful). It's no Fisher King. It's not even a Doctor Parnassus.

One purely for the fans I think.