It has been twenty years since Don Diego de la Vega fought Spanish oppression in Alta California as the legendary romantic hero, Zorro. Having escaped from prison he transforms troubled bandit Alejandro into his successor, in order to foil the plans of the tyrannical Don Rafael Montero who robbed him of his freedom, his wife and his precious daughter.
Critics largely enjoyed The Mask of Zorro as a throwback to classical Hollywood swashbucklers, praising its practical stunt work and the chemistry between Banderas and Zeta-Jones — though some found it overlong and faulted the casting of Welsh and Spanish actors in Mexican roles. Positive reviews came in warmer than the middling professional consensus might suggest, with audience reception notably enthusiastic.
“It's a reminder of the time when stunts and special effects were integrated into stories, rather than the other way around.”
Roger Ebert·Chicago Sun-Times
“performance presents a slight problem: The film asks us to believe that no one has figured out that Zorro and his real-life persona are the same person, even though they are the only guys in Mexico who talk with a British accent.”
Mick LaSalle·San Francisco Chronicle
Action, Adventure
It has been twenty years since Don Diego de la Vega fought Spanish oppression in Alta California as the legendary romantic hero, Zorro. Having escaped from prison he transforms troubled bandit Alejandro into his successor, in order to foil the plans of the tyrannical Don Rafael Montero who robbed him of his freedom, his wife and his precious daughter.
Critics largely enjoyed The Mask of Zorro as a throwback to classical Hollywood swashbucklers, praising its practical stunt work and the chemistry between Banderas and Zeta-Jones — though some found it overlong and faulted the casting of Welsh and Spanish actors in Mexican roles. Positive reviews came in warmer than the middling professional consensus might suggest, with audience reception notably enthusiastic.
“It's a reminder of the time when stunts and special effects were integrated into stories, rather than the other way around.”
Roger Ebert·Chicago Sun-Times
“performance presents a slight problem: The film asks us to believe that no one has figured out that Zorro and his real-life persona are the same person, even though they are the only guys in Mexico who talk with a British accent.”
Mick LaSalle·San Francisco Chronicle
Action, Adventure