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Unhinged, swashbuckling, zany cinematography keeps this very long movie feeling loose and unpredictable to the end. After 25 years of disaster and setback, Terry Gilliam’s quixotic project took on an epic depth of meta-layering. 
Adam Driver delivers a warm and funny version of an unlikable character (or caricatured stand-in for the director himself). At its best moments it captures the magic of Fellini’s Mastroianni in 81/2; complete with larger than life set pieces. Jonathan Pryce is so fun to watch, and really hooks you with his anachronistic psychotic chivalry. 
Despite pacing issues in the third act, the movie makes up for it with a generous overflow of ideas. This sprawling slapstick comedy is a profound meditation on the price of art.