Zardoz (1974)
Directed by John Boorman
In the far future, a savage trained only to kill finds a way into the community of bored immortals that alone preserves humanity's achievements.
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What critics compared Zardoz to
…since The Fountain‘s wide release recalls the days (roughly 1968-1975) when it wasn’t uncommon to find some pretty heady fare — like John Boorman’s Zardoz (1974) — booked into regular theaters.
But it may not transcend the world of cult sci-fi as with other slightly out-of-step oddities like John Boorman's Zardoz (1974), David Lynch's Dune (1984) and Tarkovsky's Stalker (1979).
It's a social structure with echoes of "The Time Machine," "Metropolis," and John Boorman 's whacked-out "Zardoz."
It makes the most memorable use of the second movement of the Beethoven Seventh Symphony since John Boorman’s Zardoz (1974).
Given we have the 1974 version featuring a cast of luminaries, endorsed by no less a critic than Agatha Christie (who wandered in by mistake, having bought a ticket for Zardoz), and a TV adaptation featuring the man many consider to be the definitive Hercule Poirot – canon completest David Suchet, was there a need for another Murder on the Orient Express?
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It’s jarring, like the opening scene in John Boorman’s 1974 cult classic “Zardoz,” but with a ranting author rather than a floating, disembodied human head.
Suddenly, the film makes more sense: Is this a " Zardoz " homage?
And his two later movies, Zardoz (a futuristic handling of the Arthurian legend) and Exorcist II The Heretic (with its magic and horror), each bear the imprint of Malory's thematic concerns.
The same thing happened to Boorman's sci-fi spectacle Zardoz (1974); it was intended in all seriousness, but it was so bad that it became a cult item.
Mr. Boorman, the English director (''Deliverance,'' ''Zardoz''), is dauntless.