We live in a world full of nothing. Now, go get some pizza!
Q (Christoph Waltz) is a programmer in the near-future, where everybody dresses like drag queens from the 80’s, interact to one another through computer-screens, and mostly don’t understand the world around them. Not Q, though, as he makes it abundantly clear on a few occasions that he does in fact believe that our lives, this world we live in, and the universe as a whole, leads up to nothing. Regardless of if he’s correct or not, he knows he has to prove this with a computer-program, but he finds himself getting more and more sidetracked as he continues to get closer to completing his assignment. For one, he meets a lovely, incredibly smokin’ hot girl by the name of Bainsley (Mélanie Thierry), who he starts to fall in love with, even though he knows she’s a stripper and gets paid for a living to sweep guys like him off their feet. Also, to make matters a bit worse, he’s forced to work with Bob (Lucas Hodges), a young whippersnapper who has a lot to say and is trying to help Q out with solving this problem, but eventually finds himself trying to solve most of Q’s problems in real life. Which, at this current place in time, just so happens to be his affections for Bainsley.
Though I’m not a huge fan of Terry Gilliam and most of the work he puts out, I have to give him credit for at least trying to give his audience something more, something creative, and most of all, something ambitious that most movie-going audiences wouldn’t normally have the chance to see. Some say that about Christopher Nolan (I’m one of them), but it’s obvious that they’re both two different film-makers; they may seem to be working for the same movie-going audience, but when it comes to see who actually sees their movies and why, it’s a bit different. Nolan’s crowd is the accessible, more mainstream crowd, whereas Gilliam’s audience is a tad more limited, meaning that it’s definitely the stranger type of crowd who swarm to see his movies.
However, that’s neither here nor there. The only problem I seem to have with Gilliam’s movies is that, most of the time, his ambitions seem to lose themselves and go over our heads. Much rather than seeming smart or interesting, they just seem random and relatively insane. And though one could make the argument that maybe this is exactly what Gilliam is going for, a part of me knows this not to be true and instead, knows that Gilliam’s going for something with his movies – they just don’t always work.
That said, a movie like the Zero Theorem is one that I’m able to give a pass. Because while it’s goofy, over-the-top, campy, and seemingly crazy, it never lost my interest and seemed to beg questions that deserved to begged about in the first place.
For instance, is this world we live in now (or the near-future), more comfortable with interacting with a computer-screen, disguised as another human being, much rather than actually going out there and communicating with others, face to face? This is an honest question that deserves to be brought up and while it may be nothing new, Gilliam still brings it up in a way that’s relevant, but seems pertinent to the story. The fact that Q is a computer-programmer of some sorts (his job title is never fully made clear to us), makes it easier to understand why he’d not only be so infatuated with someone through the wonderful, lovely world that is the internet, but actually go so far as to get distracted about the beautiful, pleasureful things it can bring to one’s life.
And though this may all seem preachy, Gilliam keeps it away from being as such and it’s a smart move on his part. It’s not the only one, but it’s the one I found most noticeable.
Another person worth mentioning here is Christoph Waltz as Q who, in one of his first roles that isn’t in a Quentin Tarantino movie, actually impressed me with what he was able to bring to the script and his character as a whole. While it’s easy to fall for Waltz in most movies where he’s constantly speaking, and using that silver-tongue of his, here, Waltz is simply made to react to everything and everyone around him. This not only brings a lot of comedy to the film, but makes us sympathize a bit more with this character who, in any other movie, could have been made out to be some sort of sad sack, miserable a-hole that nobody would want to be around. But because he’s in this world wherein he knows that everything means nothing, you sort of feel bad for the dude and want him to cheer up, smile a bit, and possibly forget all about the meaning of life. Just living it is enough, honestly.
And because it’s easy to feel for Q, it’s also easier to feel for the other characters in this movie, as strange as they sometimes may be. As Bainsley, the webcam hooker/stripper, Mélanie Thierry not only fits the role of being incredibly gorgeous, but also is quite charming, which makes it easy to understand why she’d fall for such a nut-job like Q. Same goes for the characters played by Lucas Hodges and David Thewils; though they don’t necessarily “fall” for Q in the same way that Bainsley does (that would have been a whole different movie entirely), they still feel for the guy and be present in his company. Some of it’s because they like to laugh at his expense, but some of it is also because they want to help the guy and make the world seem a bit brighter and better for him, even if they know that the task is almost impossible to complete. But nonetheless, they’re mostly all sympathetic characters.
Most of this is, yes, because the cast is very good at helping us understand who these characters are a bit more, but also because Gilliam gives them enough detail here and there, that not only shows us that he cares for them, but wants them to be happy in the end as well. Being the storyteller he is, he knows that he has to stick to how he wants his story to end first and foremost, but at the end of it all, he remains hopeful and cheerful that they’ll get the life they oh so desire. Even if, like Q, he still can’t help but scoff at what it all means.
If anything at all.
Consensus: Weird and over-the-top, the Zero Theorem finds Terry Gilliam in his comfort-zone, but still allows himself to breathe a bit more with detailed characters, ideas about the way our society is headed, and why, if at all, any of it matters.
7 / 10 = Rental!!