2 of 2 people found the following review helpful
1.0 out of 5 stars
All Time Worst Big Budget Film, Feb 26 2002
I have to laugh at the reviewers who suggest that 'dumb' people won't like this film. As if this film is some sort of deep, intellectually stimulating masterpiece.
This film is a perfect illustration of the famous Shakespeare line, "full of sound and fury, signifying nothing."
There are a lot of 'confusing' plot points and hallucinatory extremely obvious symbollism to make the film look deep, but when you get right down to it, the film mostly just makes some very cliched obvious statements. Excellent cinematography and gratuitous nudity notwithstanding, the film is surprisingly dull and lacks any sort of emotion or suspense to make it a worthwhile film to watch.
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4.0 out of 5 stars
Something to Think About Burt Reynold Was Originally Sched, July 18 2004
One afternoon, 10 years after it was released, I saw Zardoz in a moviehouse in Georgetown and didn't get it - except that Sean Connery was still very sexy. Recently, the serendipity of watching The Swimmng Pool with Charlotte Rampling suggested giving this Boorman allegory another chance. I finally get it and had fun seeing it again. Three reasons to watch Zardoz are John Boorman's emerging vision and personal iconography, the power of Sean Connery's presence and acting (especially at the point in his career when he was trying to break from the Bond type-cast), and Geoffrey Unsworth's masterful photography.
Boorman and his actors put their hearts and talent on the line. Connery pulls off wearing the red loincloth and wedding dress, pulling a rickshaw and effectively performing scenes like the lecture on libido with subtle irony. Charlotte Rampling, Sara Kestelman, and other actresses can survive wearing go-go boots or performing nude while portraying strong women in conflict reacting to Zed's mojo. The whole cast of immortals are such good actors that you can giggle about the horror of wearing macramé tops and overly foofed hair, but they suspend your belief in the nightmare society these characters have created. Unsworth not only films this movie; he validates the vision with clear images that indulges Boorman's penchant for setting archetypes and going all Jungian on us. It is beautiful to watch and mostly poetic.
Boorman stuffs the movie with cinematic references like Welles and Peckinpah, much like the immortals have stuffed their museum. In his commentary, he admits putting too much in the film and that he would do things differently with more money and experience. At the beginning, there are moments that almost feel like Monty Python's Holy Grail or Woody Allen's Sleeper, but the movie progresses past that. The set design was interesting, but I felt that the costuming was just a little too groovy. He also admits that some of this cult classic is laughable, but the actors and the camera take it seriously enough to trap us in the Vortex and follow Zed as he searches for the truth. I am a sucker for personal films, and everybody involved made this personal to their truth.
Given what has been going on in Silicon Valley, Zardoz is still very pertinent. The irony is that celluloid projections on glass, superimposed images on film and light refracting from faceted crystals simulated computers, which were used to depict John Boorman's vision of 2293. In any remake, instead of green bread, Boorman's successor would have to direct the brutals in assembling green pizzas, and a notion of a religious mystery commanding the terminators would be named by the corruption of the phrase - Stock Option. Their god would be called Ckoption. Nyahhh! Just watch Zardoz.
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4.0 out of 5 stars
Strange, uneven and often beautiful, July 3 2004
This is a very strange work, a large-scale but highly personal film with many beauties as well as some dubious elements. The opening fifteen minutes are among the most memorable: Boorman begins the movie with numerous striking compositions (greatly enhanced by this pristine DVD edition), and a dreamlike, largely silent progression which highlights his storytelling talent; Zed's 'learning sequence', later in the film, is also remarkably put together. The main character's quest for truth and knowledge is mostly compelling, but brought down a bit by Boorman's simplistic, rarely subtle views on sexuality and spirituality. On the other hand, his use of mythology, classical art and fairy tales is adept and intelligent, and the twist he gives to the Indo-European functional tripartition famously noted by Georges Dumezil (sovereign-religious / physical strength-war / fecundity) is quite provocative. 'Zardoz' is a cult movie par excellence: flawed but ambitious, its weaknesses are as definitive as its strengths in defining its special flavour. This unique film should be seen by adventurous viewers.
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