An unnamed American man, identified only as #1 (Hus Miller), finds himself on a bus in Dakar, Senegal, with a bomb attached to his chest and ten hours remaining before detonation. He receives a phone and earpiece, and a voice—belonging to Willem Dafoe—explains that he will be freed after completing five assignments. Around the second mission, #1 encounters another American, designated as #2 (Cam McHarg), who is also burdened with a bomb and a similar deadline. To survive, these two are compelled to work together. "Zero," co-written and directed by Jean Luc Herbulot and co-written and starring Hus Miller, struggles to define itself—it seems unsure whether it should be an erratic comedy, an unpredictable thriller, or an action film with a deeper meaning. The movie attempts to develop each of these ideas, but ultimately delivers only uninspired moments. The term “comedy” is used loosely because the film isn’t genuinely funny. A minor highlight occurs when #1 and #2 are forced to snort cocaine in order to impress a drug lord during one of their missions. The initial assignments feel absurd, resembling stunts from "Jackass" or involving them risking everything simply to progress. Beyond the tasks themselves, they face challenges like evading police and constant helicopter surveillance. According to the voice on the phone, Senegal’s prisons are extremely harsh. However, the film loses its sense of urgency roughly halfway through, reducing the characters' life-or-death situation to performing mundane errands. The action sequences also fall short. #2 is established as someone with military training, but his combat scenes appear clumsy and awkwardly edited. For example, during a fight where he’s supposed to fend off two opponents, the film noticeably cuts away each time he throws a punch. One mission involves picking up a man named Daniel (Gary Dourdan), who fights with the grace of an inexperienced wrestler, and the camera seems to deliberately avoid showing actual punches being thrown. The reason for targeting these Americans is revealed to be the work of someone obsessed with bombs, a figure never seen on screen. This person monitors their mission progress using drones. As the film progresses toward its conclusion, the missions become increasingly elaborate but also less engaging. The first task involves stealing a phone from an amateur wrestler without getting beaten up, while the final one entails transporting a social media celebrity to someone’s wedding. The ending attempts to convey a profound and ambiguous message, portraying the voice on the phone as brilliant and depicting America as exceptionally malevolent. This concept would be more believable if the film didn't also portray the people of Senegal as easily manipulated. The movie treads a precarious line between exploring terrorism’s control and suggesting that only Americans are capable of controlling an entire nation. It isn’t necessarily about whether one believes America is evil, but rather it feels like a forced concept intended to leave the door open for a sequel. The cinematography stands out as the film's strongest element. Cinematographer Gregory Turbellier utilizes numerous drone shots showcasing Senegal’s vastness and the cramped nature of its architecture. Some of these shots resemble miniature work, though if that is the case, it blends seamlessly with the live-action footage. There’s a solid idea buried somewhere within “Zero,” and Willem Dafoe delivers a good performance as always, but ultimately, the film resembles an unpleasant experience more than a thrilling action movie. The acting isn't impressive; these characters are sent on a pointless quest for unclear reasons. The computer-generated fire effects look noticeably cheap. The ending tries to cram in several twists during its final minutes, resulting in a disappointing and anticlimactic resolution—precisely what a fast-paced thriller should avoid.

Source on TMDB