‘The Zero Theorem’ sees Terry Gilliam in his comfort zone, for worse rather than better
Rather than the political surveillance looked at in Brazil, corporate surveillance is the primary focus, though the film’s weak digs at both that and the impersonal nature of our online modern age lack any of the bite of the earlier film. Exploration of the latter idea certainly isn’t helped by the writing of Bainsley, a character lacking in any agency of her own. Thierry is victim to an uncomfortable amount of fetishistic objectification, present even outside of the few scenes in which it contextually makes a little sense. Kim Griest’s well-rounded, independent heroine is just one of the ways in which Brazil still has punch today as a key science fiction work; The Zero Theorem, an effort that never excels, is a light shove at best.