• Studio:
  • Release Date: Sep 19, 2014
Metascore
54

Mixed or average reviews - based on 10 Critics

Critic score distribution:
  1. Positive: 5 out of 10
  2. Negative: 1 out of 10
  1. Reviewed by: Philip Kemp
    Mar 10, 2014
    80
    The future as candy-coloured paranoid nightmare: not quite Gilliam’s best, but still the most satisfying movie he’s made for years.
  2. Reviewed by: Kim Newman
    Mar 10, 2014
    80
    It’s the tangle of workings-out not the easy answer that are the proof of a theorem, and that magnificent, sparkling, insightful chaos abounds here.
  3. Reviewed by: Mary Corliss
    Sep 16, 2013
    70
    The Zero Theorem is a spectacle that demands to be cherished — as long as the society Gilliam portrays is a satire, not a prophesy.
  4. Reviewed by: Oliver Lyttelton
    Sep 16, 2013
    67
    There’s much to like, from Waltz’s performance to the typically rich production and costume design.
  5. Reviewed by: Geoff Pevere
    Jul 31, 2014
    63
    At once cluttered and cavernous, hysterical and static, romantic and cynical, The Zero Theorem works most effectively moment by moment and in the details.
  6. Reviewed by: Dave Calhoun
    Sep 16, 2013
    60
    It’s anarchic, sometimes amusing, intermittently tedious, with ideas about digital alienation and the corruption of technology that too often feel blunt and tired.
  7. Reviewed by: Xan Brooks
    Sep 16, 2013
    60
    The film has a ragged charm, a Tiggerish bounce, and a certain sweet melancholy that bubbles up near the end.
  8. Reviewed by: Deborah Young
    Sep 16, 2013
    40
    It doesn’t really add up to much, beyond a timely reminder that it would be better for everyone to stop uploading and downloading and just unplug and be human.
  9. Reviewed by: Robbie Collin
    Sep 16, 2013
    40
    Raucous but fatally confused, openly pilfering its central themes from Gilliam’s own 1985 masterpiece Brazil, but with no idea how to develop them.
  10. Reviewed by: Leslie Felperin
    Sep 16, 2013
    30
    A sci-fi confection that, at best, momentarily recalls the dystopian whimsy of the director’s best-loved effort, “Brazil,” but ends up dissolving into a muddle of unfunny jokes and half-baked ideas, all served up with that painful, herky-jerky Gilliam rhythm.

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