Although it's full of stylistic hallmarks we've come to expect from Gilliam — layered realities, overbearing technology, institutional paranoia and of course, quirky romance – it feels like a personal journey into his beliefs, as it stares into the divide between reason and faith.
Living in an Orwellian corporate world where "mancams" serve as the eyes of a shadowy figure known only as Management, Leth works on a solution to the strange theorem while living as a virtual cloistered monk in his home—the shattered interior of a fire-damaged chapel. His isolation and work are interrupted now and then by surprise visits from Bainsley, a flamboyantly lusty love interest who tempts him with "tantric biotelemetric interfacing" (virtual sex) and Bob. Latter is the rebellious whiz-kid teenage son of Management who, with a combination of insult-comedy and an evolving true friendship, spurs on Qohen’s efforts at solving the theorem. … Bob creates a virtual reality "inner-space" suit that will carry Qohen on an inward voyage, a close encounter with the hidden dimensions and truth of his own soul, wherein lie the answers both he and Management are seeking. The suit and supporting computer technology will perform an inventory of Qohen’s soul, either proving or disproving the Zero Theorem.
Like most life lessons, the answers to Qohen's problems are hidden in plain sight. But the fact that they're there at all marks the difference between a film with a nihilistic attitude about human existence, and one that believes in the idea that there are many reasons to live, both great and small. Like a great professor who makes complicated ideas easy to understand, and more importantly, fun to think about, Gilliam boils down basic questions about human existence to a series of weirdly relatable physical conflicts, which is why "The Zero Theorem" dances on the edge of nothingness, and manages to find something incredibly powerful to say.
The story of a young man disillusioned by love who meets a breathtaking young woman at a charity dinner by pretending to be a philanthropist. Turns out that she's engaged to a guy who doesn't like her going on dates. Challenged by the chase, and egged on by his eclectic friends, he feigns a platonic relationship in order to keep seeing her as he tries to conquer her heart.
Playing it cool is a comedy film directed by Justin Reardon and written by Chris Shafer and Paul Vicknair. The film stars Chris Evans ("Captain America: The Winter Soldier", "The Avengers" and "Snowpiercer") Michelle Monaghan ("Source Code", "Due Date" and "Eagle Eye") and Anthony Mackie ("Captain America: The Winter Soldier", "Runner, Runner" and "Pain & Gain).
A nurse, Miranda, living in a small town has a nice life. However she lives alone and is set up on a blind date with Kevin. On the date of the date he shows up early and Miranda invites him in. He walks to the door and locks it. He then attacks her. Miranda tries to go back to normal but cant. She decides to write to prison and finnaly to go to see the attacker. When he gets out he has no clue what Miranda has prepared for him.
The film follows four high school students who, upon graduating from high school, realize that they've missed out on life experiences by always being the "good kids", and decide to reinvent themselves in order to enjoy their last time together before heading off to college.
Steve Ford is a down but not out L.A based Private Investigator whose professional and personal worlds collide after his loving pet Buddy is stolen by a notorious gang. A series of crazy circumstances find him doing the gang's bidding, while being chased by two vengeful Samoan brothers, a loan shark's goons, and a few other shady characters. They say a dog is a man's best friend, and Steve shows how far a man will go to be reunited with him.
Four moms, whose only common ground is their kids' preschool class, get together for a harmless 'fun mom dinner.' When the night suddenly takes an unexpected turn, these unlikely new friends realize they have more in common that just marriage and motherhood. Together, they reclaim a piece of the women they used to be.
