Hellen I like the storyline of this show,it attract me so much

Maidexpl Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Jackson Booth-Millard I found this title listed in the book 1001 Movies You Must See Before You Die, but I also recall seeing it once in the Wikipedia list of films considered the worst, but I always going to watch it, directed by Michelangelo Antonioni (L'Avventura, La Notte, L'Eclisse, Blowup). Basically set in the late 1960s, rebellious student Mark (Mark Frechette) is arrested after trying to bail out his roommate, following a mass arrest at the campus during a protest, after he is released he and friend buy firearms from a Los Angeles gun shop, claiming it is for "self-defence". In a downtown Los Angeles office building, successful real estate executive Lee Allen (The Birds' Rod Taylor) is reviewing a commercial for Sunny Dunes, a new resort-like real estate development in the desert. After getting away from a bloody campus confrontation between students and police, Mark walks to Hawthorne Municipal Airport, steals a small Cessna 210 aircraft and flies into the desert. Meanwhile, pot-smoking secretary Daria (Daria Halprin) is driving across the desert towards Phoenix in a 1950s-era Buick automobile to meet her boss Lee, he may or may not also be her lover. Daria is spied from the air by Mark, he flies inches above her car, before she gets out and he wizzes over her lying in the sand, he throws his T-shirt out the window for her to pick up, Daria goes from upset to curious. The meet later, Mark asks Daria for a lift so he can buy fuel for the plane, the two wander to Zabriskie Point, the lowest point of the United States, there they make love, and the site's geological formations seem to have a dusty orgy. Later, a suspicious California patrolman questions Daria, Mark hides behind a portable toilet holding a gun, he aims his weapon, but Daria blocks him, allowing the policeman to drive away. Daria asks Mark if he killed a policeman who was killed in Los Angeles, he admits he wanted to kill him, but someone else shot the officer. Mark and Daria return to the stolen aircraft, painting it with politically-charged slogans and psychedelic colours, Daria begs him to come with her and leave the plane, but Mark is intent on returning it and taking the risks that it involves. Mark flies back to Los Angeles and lands the plane at the airport in Hawthorne, police and radio and television reporters are waiting there for him, he tries to turn the aircraft around across the grass, but Mark is shot to death by one of the policemen. Daria learns about Mark's death on the car radio, she sees three affluent women sunning themselves and chatting around the swimming pool at Lee's desert home, Daria grieves for Mark drenching herself in the house's architectural waterfall. Lee is deeply immersed in the business meeting about the Sunny Dunes development, he spots Daria when taking a break and happily greets her, she finds there is a guest room ready for her, but briefly opening the door, she shuts it again. Daria leaves the house silently and drives away but stops to get out of the car and look back at the house, in her own imagination Daria sees the house repeatedly being blown apart in billows of flames with household items going up with it, she then continues her journey. Also starring Paul Fix as Roadhouse owner, G. D. Spradlin as Lee's associate, Bill Garaway as Morty and Kathleen Cleaver as Kathleen, and an uncredited Harrison Ford as an arrested student. This film has been described as "the worst film ever made by a director of genius", it was an overwhelming commercial failure, and has been panned by critics, no wonder it has gained a cult audience. I don't think it is that bad of a movie, it shows radical activism, rebellion against society, and the breakthrough of modern youth during this significant era, there are certainly a few memorable moments, from the plane flying to the carefree sandy sex scenes, from the road movie vibe to the psychedelic painting of a plane, overall it is a relatively interesting drama. Worth watching!

Christopher Culver In the 1960s, the director Michaelangelo Antonioni left his native Italy for a series of a films abroad. BLOW-UP, shot in 1966, captured Swinging London at the dawn of the Sixties counterculture when radical new fashion and music served as the nexus of youth innovation. But as Antonioni moved to the United States and began shooting ZABRISKIE POINT, ultimately released in February 1970, he now captured a counterculture that was tougher and politically radical, with Black liberation movements and university students advocating in-your-face or downright violent methods for effecting social change.In southern California, a young man named Mark (Mark Frechette) flees a university sit-in after shooting at one of the riot police besieging it. A young lady named Daria (Daria Halprin), who works as a secretary for a large real estate developer building out in the desert, is driving to Phoenix for a meeting. They cross paths when Mark, who proves to have some training as a pilot, steals a light plane from an airfield for a little joyride. He buzzes her car for laughs. When he finally lands, Daria quickly overcomes her fear at this aerial taunting and falls for him. They spent an afternoon together in the desert, at the eponymous point in Death Valley. Yet while these two young people in love enjoy this brief splendour far away from it all, they must eventually return to civilization, and then things come to a head.ZABRISKIE POINT was a critical failure when it was first released, and I was expecting to dislike it. However, the film's flaws are few and, among everything else the film offers, forgivable. One of those flaws is the acting during the relatively brief portion when the two leads meet. Frechette and Halprin are extremely photogenic and fashionable -- it's hard to believe they weren't established Hollywood bombshells, but rather amateurs and they had actual counterculture credentials. However, as much as they provide the film visually in moments they appear alone, during their brief time together they have zero chemistry and the dialogue they exchange is delivered clunkily.The other flaw is the characterization of Mark: by the end of the film, Daria has seen things that stir her to anger and lead her to question the conventional society in which she works. However, the script (a collaboration between Antonioni, longtime collaborator Tonino Guerra, and Sam Shepherd) never explains why Mark is so bent on destruction. The audience just feels that he's a delinquent with emotional problems, and that makes it difficult to sympathize with him.Yet in spite of those weaknesses, this is not at all an unenjoyable film. Forget the stupid interaction of Mark and Daria. Instead, just soak in Antonioni's visual poetry as captured by cinematographer Alfio Contini. The Italians must have been delighted by what they found far away from their native land. California of this era is revealed in all its peculiar grandeur, both the urban sprawl of Los Angeles (already utterly hostile to pedestrians) and the unforgiving but strangely beautiful desert. Most of Antonioni's trademark mise-en-scene from the Italian films is preserved here in this foreign location. Unexpected, however, is the savage ending -- sometimes dubbed "the violent scene" -- where the film makes its strongest blow against complacent bourgeois culture. One wonders if Antonioni had seen Jean-Luc Godard's 2 OU 3 CHOSES QUE JE SAIS D'ELLE, with its capstone unveiling of consumer products, and thought "I can one-up that." The result is a feast for the eyes.It's curious too how the passage of time can endow a film with poignant resonances beyond what the filmmaker could have intended. Antonioni shot this film in 1968-69 when the counterculture was a brave new world, but audiences today will see it as a vivid document of a past now half a century gone, and the thought that all this colour, idealism, fashion and design is long dead smarts.Antonioni's loose trilogy consisting of L'AVVENTURA, LA NOTTE and L'ECCLISE might be the best introduction to this filmmaker, but I am glad I have explored his other work, and while ZABRISKIE POINT is notably flawed compared to its predecessors, it has haunted my thoughts in the weeks after I screened it, and that says a lot to its credit.

bkoganbing Michael Medved had Zabriskie Point down on his list of 100 worst films. But just looking on the critical reaction here there's a lot who feel he was harsh. I'm not one of them however though I've seen much worse.The main problem here is that Michelangelo Antonini chose a pair of non actors for his two young leads, symbols as they were of a new generation that was to reform all before it. The problem is that for long periods of this film Mark Frechette and Daria Halprin are on screen together. Put it simply, they couldn't act. I've seen better from high school plays.Zabriskie Point is a waste of time for people like Rod Taylor, G.D. Spradlin, and Paul Fix they've all been far better. Zabriskie Point should be seen as a reminder that even big budget films can have a dearth of acting.

Bribaba Antonioni's masterpiece is still in DVD limbo, causing poor quality VHS versions to sell for $100. Ironic, because when it was released cinematically you practically had to pay people to and see it - the budget was $7m and it took only $800,000 at the box office. Some of this can be attributed to scathing reviews from US critics who didn't take kindly to an Italian taking their country's social and economic values to task. Much blame was attributed also to the casting of two non actors in the lead roles, and it's true they come across as stiff and awkward but they also appear incredibly naive, making them a perfect representation of the period. Indeed, there are few films that capture the socio/political zeitgiest as this film does.Vittorio Storaro's cinematography is outstanding, whether in LA or in the Death Valley desert, while the ending suggesting that American materialism will go up in flames, literally, is truly spectacular. The soundtrack also helps things along with tracks from Pink Floyd, Grateful Dead and The Youngbloods. This probably grossed more than the film.