TriStar Pictures | Release Date: July 17, 1998
8.8
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Universal acclaim based on 193 Ratings
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162
Mixed:
28
Negative:
3
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9
MovieLonely94Oct 31, 2010
Antonio Banderas for the win!
5 of 5 users found this helpful50
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10
GoldenEye16Aug 11, 2010
This movie is phenomenal and definitely one of the most underrated movies of all-time. The plot is great, everything flows wonderfully from scene to scene and it gives you that feel of a real authentic movie. The action is fantastic asThis movie is phenomenal and definitely one of the most underrated movies of all-time. The plot is great, everything flows wonderfully from scene to scene and it gives you that feel of a real authentic movie. The action is fantastic as well, I mean who doesn't love sword-fighting especially when its done this good. I thought characters were also well mapped out and you really do care what happens to them. Expand
3 of 3 users found this helpful30
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8
[Anonymous]Nov 19, 2005
A swashbuckler that works on its own terms. A little overlong in the middle act, though. The action's good, but it seems to be the lighthearted swashbuckling kind as opposed to the usual blood, viscerallity, and high body count. Rich A swashbuckler that works on its own terms. A little overlong in the middle act, though. The action's good, but it seems to be the lighthearted swashbuckling kind as opposed to the usual blood, viscerallity, and high body count. Rich people seem to be a common choice of villain in recent movies of late. Expand
1 of 1 users found this helpful
10
JoséA.Dec 11, 2005
This a very very cool movie is great.
1 of 1 users found this helpful
8
SuperheroMoviesSep 6, 2013
Fueled with slick dialogue and a script that benefits greatly from the charismatic leads of Antonio Banderas and Anthony Hopkins, The Mask of Zorro is a spectacular swashbuckling tale with an endless knack to entertain.
0 of 1 users found this helpful01
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7
Cinemassacre94Mar 20, 2016
More than any other movie this summer, The Mask Of Zorro represents a triumph of corporate anxiety, a desperate attempt to revive the old swashbuckler genre for today's audiences by throwing in every action/adventure standby (anachronisticMore than any other movie this summer, The Mask Of Zorro represents a triumph of corporate anxiety, a desperate attempt to revive the old swashbuckler genre for today's audiences by throwing in every action/adventure standby (anachronistic dialogue, kid-friendly pain humor, the obligatory love duet during the closing credits) short of a sport-utility vehicle. Why else would it need two Zorros? But there's no use pretending that the films of Douglas Fairbanks and Tyrone Power were any less formulaic, and The Mask Of Zorro is disarming for the same reasons, coasting on the charisma of its stars and a few exciting action setpieces. Anthony Hopkins plays the original masked hero, protecting California peasants from an oppressive Spanish governor (Stuart Wilson) in the early 1800s. Not so easily thwarted, his nemesis exacts his revenge, murdering Zorro's wife, throwing him in prison, and raising his baby daughter—who will grow to be the almost comically beautiful Catherine Zeta-Jones—as his own. Too old by the time he finally escapes, Hopkins recruits an eager protégé, the ideally cast Antonio Banderas, to set things right. Both Zorros are obviously having a good time, with Hopkins enunciating beautifully (he makes a meal out of "Esperanza") and Banderas marveling at himself as he pulls off his many schemes and guises. Journeyman director Martin Campbell, whose previous credits include GoldenEye, doesn't really have a style of his own, but he knows how to deliver on a franchise. Attractively mounted, unpretentious, and always engaging, The Mask Of Zorro may benefit from lowering standards, but compared to murky, incoherent efforts like The Man In The Iron Mask and Robin Hood: Prince Of Thieves, it delivers the goods. Expand
0 of 1 users found this helpful01
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7
WriteFilmLive21Mar 18, 2013
Right from its grand and bombastic opening logos, you get the distinct feeling when starting "The Mask of Zorro" that you're in for a ride and considering this is an action picture from Martin Campbell, it doesn't disappoint. This is aRight from its grand and bombastic opening logos, you get the distinct feeling when starting "The Mask of Zorro" that you're in for a ride and considering this is an action picture from Martin Campbell, it doesn't disappoint. This is a highly entertaining and well-made movie with a script and characters as clean and beautiful as the direction and practical effects. It's big, it's exciting, it's explosive and it's very memorable. Expand
0 of 0 users found this helpful00
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8
MovieGuysFeb 27, 2014
The Mask of Zorro will be a great classic someday. The Zorro films have always been inspiring and original, and that's what makes them special and unique. This film, like a great scotch, will get better with age.
0 of 0 users found this helpful00
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8
MovieGeeksApr 1, 2016
''The Mask of Zorro'' extends a tempting invitation: travel back to the days when swashbuckling was serious business, when boyish adventure films still had their innocence, when the bravado of thrilling stunt work was all a movie needed in''The Mask of Zorro'' extends a tempting invitation: travel back to the days when swashbuckling was serious business, when boyish adventure films still had their innocence, when the bravado of thrilling stunt work was all a movie needed in the way of special effects. With a wealth of charismatic Zorros (two), a smashing heroine and a dauntless love of adventure, this is hot-weather escapism so earnestly retrograde that it seems new.

Directed by Martin Campbell, who gives it the same gaudy Bondian brio he brought to ''Goldeneye,'' this Zorro features heroic derring-do from three men. First and most distinguished is Don Diego de la Vega, a k a Zorro Senior, played by a marvelously game Anthony Hopkins with unexpectedly elegant panache. Then there is his jokey, hot-blooded protege, the role that Antonio Banderas was obviously born to play.

And behind the scenes there's Robert Anderson, sword master to the stars for 45 years (he worked with Errol Flynn), who has choreographed the film's many sword fights with spectacular flamboyance. If Mr. Anderson's style looks familiar, that may be because it was he who matched light-sabers with Luke Skywalker while dressed in a Darth Vader suit.

There are ''Star Wars'' overtones to the story here, too, since ''The Mask of Zorro'' draws on the relationship between mentor and hero-in-training with the same debt to Joseph Campbell's mythic motifs. None too seriously, you understand -- just well enough to keep the film's castanets clicking. This format requires an early tragedy, and that happens when Zorro Senior loses his raven-haired wife and baby daughter to the evil Don Rafael Montero (Stuart Wilson), an early-19th-century Spanish governor of Alta California. There's something irresistibly quaint about the moment when Zorro and his wife, while sharing a tender moment at home, suddenly find themselves surrounded by a dozen sword-clanking soldiers who somehow crept noiselessly into the house.

Though the dashing Don Diego has donned the Zorro mask to fight Spanish oppression (see assorted Zorro reruns on the late show for further details), circumstances now demand that he vanish for 20 years. He turns up again in the midst of a scraggly, unwashed crowd who can be described only as wretches in this context. Meanwhile, no less scraggly is a hapless thief named Alejandro Murrieta (Mr. Banderas) who has his own reasons for hating Don Rafael.

It also happens that when Alejandro was a young boy, in the film's first big swashbuckling scene, he helped to save Don Diego's life. Later, when they meet as adults and Don Diego does him a good turn, Alejandro asks, ''Why are you so eager to help me?'' Don Diego replies, ''Because, long ago, you did the same for me.'' (The dialogue all sounds like that.) From here, it's not long before these two begin their Zorro lessons. Clowning merrily without jeopardizing his smolder quotient, Mr. Banderas is shaped most endearingly into a protege worthy of mask, steed, mission and the works.

Gracing ''The Mask of Zorro'' with a beauty inevitably described as ''beyond compare'' is the stunning Catherine Zeta-Jones. She plays Elena, Don Diego's long-lost and predictably raven-haired daughter, and she does it so showstoppingly that the film's appeal extends well beyond boyish action-adventure.

Enchantingly paired with Mr. Banderas for a scorching tango, a hearty duel, a scene in a confessional that has him impersonating a priest and other such vintage-style encounters, Ms. Zeta-Jones makes her first major film role one to remember. It's worth noting that her bold, alluring Elena is one of numerous strong movie heroines (Jennifer Lopez in ''Out of Sight,'' Cameron Diaz in ''There's Something About Mary,'' Rene Russo in ''Lethal Weapon 4,'' the animated Mulan) on screen this summer.

Though its major sets and vistas have their blatant artificiality, there's nothing phony about the vigorous, sometimes jokey physical exertions on which ''The Mask of Zorro'' thrives. The wild bravado on horseback is on a par with dueling scenes. And as for the double who jumps spread-legged onto his saddle from a substantial height, well, he's a hero, too.

The costume designer Graciela Mazon, who had been warming up Mr. Banderas for Zorro duty in ''From Dusk Till Dawn'' and ''Desperado,'' lives up to the occasion with all the boots and corsets and flamenco chic that the material warrants. James Horner's atmospheric score frequently summons the memory of ''Malaguena,'' giving the film all the beguiling hokum it needs.
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0 of 0 users found this helpful00
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8
MovieMasterEddyApr 4, 2016
'The Mask of Zorro': The Cunning Fox Is Back!

"The Mask of Zorro" extends a tempting invitation: travel back to the days when swashbuckling was serious business, when boyish adventure films still had their innocence, when the bravado of
'The Mask of Zorro': The Cunning Fox Is Back!

"The Mask of Zorro" extends a tempting invitation: travel back to the days when swashbuckling was serious business, when boyish adventure films still had their innocence, when the bravado of thrilling stunt work was all a movie needed in the way of special effects. With a wealth of charismatic Zorros (two), a smashing heroine and a dauntless love of adventure, this is hot-weather escapism so earnestly retrograde that it seems new.

Directed by Martin Campbell, who gives it the same gaudy Bondian brio he brought to "Goldeneye," this Zorro features heroic derring-do from three men. First and most distinguished is Don Diego de la Vega, a k a Zorro Senior, played by a marvelously game Anthony Hopkins with unexpectedly elegant panache. Then there is his jokey, hot-blooded protege, the role that Antonio Banderas was obviously born to play.

And behind the scenes there's Robert Anderson, sword master to the stars for 45 years (he worked with Errol Flynn), who has choreographed the film's many sword fights with spectacular flamboyance. If Anderson's style looks familiar, that may be because it was he who matched light-sabers with Luke Skywalker while dressed in a Darth Vader suit.

There are "Star Wars" overtones to the story here, too, since "The Mask of Zorro" draws on the relationship between mentor and hero-in-training with the same debt to Joseph Campbell's mythic motifs. None too seriously, you understand -- just well enough to keep the film's castanets clicking. This format requires an early tragedy, and that happens when Zorro Senior loses his raven-haired wife and baby daughter to the evil Don Rafael Montero (Stuart Wilson), an early-19th-century Spanish governor of Alta California. There's something irresistibly quaint about the moment when Zorro and his wife, while sharing a tender moment at home, suddenly find themselves surrounded by a dozen sword-clanking soldiers who somehow crept noiselessly into the house.

Though the dashing Don Diego has donned the Zorro mask to fight Spanish oppression (see assorted Zorro reruns on the late show for further details), circumstances now demand that he vanish for 20 years. He turns up again in the midst of a scraggly, unwashed crowd who can be described only as wretches in this context. Meanwhile, no less scraggly is a hapless thief named Alejandro Murieta (Banderas) who has his own grisly reasons for hating Don Rafael.

It also happens that when Alejandro was a young boy, in the film's first big swashbuckling scene, he helped to save Don Diego's life. Later, when they meet as adults and Don Diego does him a good turn, Alejandro asks, "Why are you so eager to help me?" Don Diego replies, "Because, long ago, you did the same for me." (The dialogue all sounds like that.) From here, it's not long before these two begin their Zorro lessons. Clowning merrily without jeopardizing his smolder quotient, Banderas is shaped most endearingly into a protege worthy of mask, steed, mission and the works.

Gracing "The Mask of Zorro" with a beauty inevitably described as "beyond compare" is the stunning Catherine Zeta-Jones. She plays Elena, Don Diego's long-lost and predictably raven-haired daughter, and she does it so showstoppingly that the film's appeal extends well beyond boyish action-adventure.

Enchantingly paired with Banderas for a scorching tango, a hearty duel, a scene in a confessional that has him impersonating a priest and other such vintage-style encounters, Ms. Zeta-Jones makes her first major film role one to remember. It's worth noting that her bold, alluring Elena is one of numerous strong movie heroines (Jennifer Lopez in "Out of Sight," Cameron Diaz in "There's Something About Mary," Rene Russo in "Lethal Weapon 4," the animated Mulan) on screen this summer.

Though its major sets and vistas have their blatant artificiality, there's nothing phony about the vigorous, sometimes jokey physical exertions on which "The Mask of Zorro" thrives. The wild bravado on horseback is on a par with dueling scenes. And as for the double who jumps spread-legged onto his saddle from a substantial height, well, he's a hero, too.

The costume designer Graciela Mazon, who had been warming up Banderas for Zorro duty in "From Dusk Till Dawn" and "Desperado," lives up to the occasion with all the boots and corsets and flamenco chic that the material warrants. James Horner's atmospheric score frequently summons the memory of "Malaguena," giving the film all the beguiling hokum it needs.
Expand
0 of 0 users found this helpful00
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