in 2015, Zardoz remains for me in many ways the most magnificent of Boorman's grand follies, at least until it drowns in its own metaphysics, which happens around the same time it shifts its literary references from L. Frank Baum to T.S. Eliot, Nietzsche, and the Song of Solomon. But even after it slides off the cliff, it does a fine job of hijacking the multiple-mirror shootout from The Lady from Shanghai.
Jonathan Rosenbaum
June 23, 2015