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Zoo (2007)
Tomatometer
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Reviews Counted:43
Fresh:24
Rotten:19
Average Rating:6/10
Consensus: While a marginally fascinating look at a taboo subject, Zoo is bogged down by its overly artistic presentation.
Theatrical Release:30-05-2008
Synopsis: One of the many challenges of documentary filmmaking can often be how to present shocking or outrageous events without sensationalizing them. With ZOO, film writers Robinson Devor and Charles... One of the many challenges of documentary filmmaking can often be how to present shocking or outrageous events without sensationalizing them. With ZOO, film writers Robinson Devor and Charles Mudede certainly had their work cut out for them. In 2006, a news story broke that a man in Washington state had died while trying to have sex with a horse. Using a rather unconventional documentary style, Devor and Mudede decided to explore the incident, and delve into the secretive subculture of zoophilia. Foregoing the traditional interview techniques generally favored in documentaries, the film is composed almost entirely of scene reenactment, with actors standing in for all of the key players. The real people involved would lend only their taped voices, as they did not wish for their true identities to be revealed. Visually, the film is quite beautiful, and flows across the screen with a dreamy, ethereal quality. Scenes are often shaded in deep violets and midnight blues, and the many shadowed, slow motion shots move as though underwater. Contrary to what one might expect, it is devoid of graphic imagery (save for one extremely brief scene), and anyone interested for shock value alone will be greatly disappointed. However, those wishing to learn more about the psychology of zoophilia will also find the film lacking. Rather than educate its audience, the film's sole purpose seems to be to humanize the people involved, and to ask for empathy. This is a noble enough goal, and one that the filmmakers achieve to a certain degree. However, by the film's end, the world of zoophiliacs still feels cloaked in mystery. If their lives are lived in shadow, ZOO doesn't do much in the way of shedding any light. Viewers will doubtless be stirred emotionally by the film, but they are likely to walk away with more questions than answers. [More]
Starring: John Paulsen, Russell Hodgkinson, Michael Minard
Starring: John Paulsen, Russell Hodgkinson, Michael Minard
Director: Robinson Devor
Director: Robinson Devor
Screenwriter: Charles Mudede
Producer: Peggy Case, Alexis Ferris
Composer: Paul Moore
Studio: ThinkFilm
Reviews for Zoo
Devor is not interested either in condemning or condoning bestiality, but rather in trying to understand the strange workings of the human animal.
Devor has made an intriguing but flawed docu about bestiality, in which the overly aesthtic and bizarre imagery often negates his more serious and critical probation, resulting in a shallow work.
The legacy of Chris Marker weeps when the future of essay filmmaking looks like a feature-length commercial for Ambien.
Director Robinson Devor makes an only mildly disgusting film about a wholly revolting subject.
Zoo is the formal antithesis of To Catch a Predator-like exposés in its presentation of outcasts.
Time and again, Devor sabotages his own attempt to bring 'zoos,' literally and figuratively, into the light.
Punch lines and outrage come easy, but beware: If you walk into this film with a secure moral judgment, prepare to have it shaken by the time you leave.
Zoo, with its idiosyncratic subject matter, may not be the easiest sell in the world, but anyone interested in provocative, challenging, and unexpected fare owes it to themselves to check it out.
Zoo, despite its elegance, teeters on a tightrope; by relying primarily on words from men who seem reluctant to talk much about what happened, it ends up having little to say.
It's never explicit or sensational or tittering. And in that it's something of a golden example; political documentaries should be this careful and restrained.
This experimental-style documentary invokes the waking dreams of David Lynch, Werner Herzog and Errol Morris. It's like a true-crime inquiry undertaken during a total eclipse.
The film's techniques are implicit, not explicit, its soothing images of rural highways and nighttime solitude conveying the social blankness its subjects report.
Devor has an eye; this is clear. If he trades some of the poetry for a little prose next time out, he'll really have something, whatever his subject.
Devor's moody style (silhouettes, reenactments, an ominously throbbing score) only heightens the sleazy Dateline NBC feel.
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