I know this may seem as the incorrect forum for this thread but once you find out what the movie is about then you'll understand why I posted this here.
Surprisingly, the movie's getting pretty good reviews.
I'm gonna go see it this weekend and I think my left handed comrades in here should go see it as well.
Hell, bring a right wing friend (if you have any) along.
It's just more fruitful that way.
Here's the San Francisco Chronicle's review....
WARNING, SOME SPOILERS:
In 'Vendetta,' disastrous U.S. and British policymaking gives rise to terrorism -- what a shocker
Trooping out of "V for Vendetta'' to the Rolling Stones' "Street Fighting Man,'' a fitting accompaniment to the final credits, you may be overcome by a sudden urge to storm the Bastille. This is inflammatory filmmaking with the burners turned up high. Don't go in expecting "Matrix 4'' because the trilogy's creators, Andy and Larry Wachowski, are being heavily promoted as the writers and producers. Their new effort is far more in the subversive tradition of "The Battle of Algiers'' and "A Clockwork Orange.''
"V for Vendetta'' would be worth seeing just as an anomaly, a big-budget Hollywood release that could be interpreted as sticking it to the American and British governments by showing the catastrophic fates these countries meet in the not-too-distant future, precipitated by disastrous policymaking. But "Vendetta'' is also richly satisfying entertainment the way movies are at their best, when they prod you to think.
Making his first feature, James McTeigue, the Wachowski brothers' longtime assistant director, finds a tone and pacing that are appropriate to bring a portentous comic book to the screen. He takes it seriously without pretending that it's Shakespeare. British graphic novelist Alan Moore wrote it in the 1980s as a harsh criticism of the political right. That the story has such resonance today indicates that Moore (who has disowned the movie) was on to something.
The opening scene offers a quick lesson in English history. London in the 17th century is re-created to show infamous saboteur Guy Fawkes foiled in his attempt to blow up Parliament, an act for which he is hanged in front of a mob of thousands. They're almost certainly computer generated, but the special effects aren't obvious. The film is almost old-fashioned in relying on solid storytelling instead of trickery to engage the audience.
Flash forward, way forward, to London in 2020 or so. A totalitarian regime has taken control, terrorizing citizens and routinely lying to them via a government-controlled TV station. It's unclear whether the news readers are telling the truth when they dryly report that the former United States is in a state of chaos brought on by a civil war.
The British people's self-appointed savior (Hugo Weaving) goes only by the letter V. But we know what that stands for. Sure enough, he's hell-bent on bringing down the government by carrying out Fawkes' failed mission. Keep the mental image of Weaving as the "The Matrix's" ubiquitous Mr. Smith, because he's little more than a disembodied voice, albeit one with majestic resonance perfect for intoning the long-forgotten principles of democracy. V is never seen without an eerie Fawkes mask covering his entire face -- the heavy lines of the eyebrows and mustache form semicircles around squinty eyes, with the mouth glued shut. To hear his words coming from some other place takes some getting used to.
Natalie Portman gives her strongest performance yet as Evey, an orphan who slowly comes to understand the truth behind the deaths of her family. Even after Evey's hair is shaved off by torturers, Portman keeps you focused on her words and actions instead of her bald head.
V rescues her from government henchmen. Her deep brown eyes first reflect gratitude, then horror when the terrorist brings her to his safe house and plots to keep her locked up there. Parallels to "The Phantom of the Opera'' are obvious when V plays his jukebox for her ("Cry Me a River,'' of all songs) and invites her for a spin around the floor.
Light moments like their slow dancing or V fencing alongside "The Count of Monte Cristo'' ("the one with Robert Donat,'' he tells Evey, distinguishing it from inferior remakes) come as a relief after relentless gloom and doom. Gruesome torture scenes seem intended to evoke both World War II concentration camps and Iraq. Persecution of gay people, described in long letters written on toilet paper by a lesbian who's been incarcerated, are another reminder of the Nazis, as is England's Hitler-like chancellor (a terrifyingly believable John Hurt). Times do change -- most of "Vendetta'' was shot in Germany to save money.
The chancellor appears on a large screen barking out orders to his underlings to stop V after he blows up the Old Bailey to the accompaniment of the "1812 Overture." Not one to miss an opportunity to show off, V sets off fireworks around the incinerated building as if it were the Fourth of July. A chunk of the budget must have gone into impressively convincing scenes of British landmarks exploding.
To the credit of everyone involved with this movie, it's about a lot more than explosions. Provocative thoughts are what rise up from the ashes.
by Ruthe Stein
http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2006/03/16/DDGG9HO5VT1.DTL&type=movies
Surprisingly, the movie's getting pretty good reviews.
I'm gonna go see it this weekend and I think my left handed comrades in here should go see it as well.
Hell, bring a right wing friend (if you have any) along.
It's just more fruitful that way.
Here's the San Francisco Chronicle's review....
WARNING, SOME SPOILERS:
In 'Vendetta,' disastrous U.S. and British policymaking gives rise to terrorism -- what a shocker
Trooping out of "V for Vendetta'' to the Rolling Stones' "Street Fighting Man,'' a fitting accompaniment to the final credits, you may be overcome by a sudden urge to storm the Bastille. This is inflammatory filmmaking with the burners turned up high. Don't go in expecting "Matrix 4'' because the trilogy's creators, Andy and Larry Wachowski, are being heavily promoted as the writers and producers. Their new effort is far more in the subversive tradition of "The Battle of Algiers'' and "A Clockwork Orange.''
"V for Vendetta'' would be worth seeing just as an anomaly, a big-budget Hollywood release that could be interpreted as sticking it to the American and British governments by showing the catastrophic fates these countries meet in the not-too-distant future, precipitated by disastrous policymaking. But "Vendetta'' is also richly satisfying entertainment the way movies are at their best, when they prod you to think.
Making his first feature, James McTeigue, the Wachowski brothers' longtime assistant director, finds a tone and pacing that are appropriate to bring a portentous comic book to the screen. He takes it seriously without pretending that it's Shakespeare. British graphic novelist Alan Moore wrote it in the 1980s as a harsh criticism of the political right. That the story has such resonance today indicates that Moore (who has disowned the movie) was on to something.
The opening scene offers a quick lesson in English history. London in the 17th century is re-created to show infamous saboteur Guy Fawkes foiled in his attempt to blow up Parliament, an act for which he is hanged in front of a mob of thousands. They're almost certainly computer generated, but the special effects aren't obvious. The film is almost old-fashioned in relying on solid storytelling instead of trickery to engage the audience.
Flash forward, way forward, to London in 2020 or so. A totalitarian regime has taken control, terrorizing citizens and routinely lying to them via a government-controlled TV station. It's unclear whether the news readers are telling the truth when they dryly report that the former United States is in a state of chaos brought on by a civil war.
The British people's self-appointed savior (Hugo Weaving) goes only by the letter V. But we know what that stands for. Sure enough, he's hell-bent on bringing down the government by carrying out Fawkes' failed mission. Keep the mental image of Weaving as the "The Matrix's" ubiquitous Mr. Smith, because he's little more than a disembodied voice, albeit one with majestic resonance perfect for intoning the long-forgotten principles of democracy. V is never seen without an eerie Fawkes mask covering his entire face -- the heavy lines of the eyebrows and mustache form semicircles around squinty eyes, with the mouth glued shut. To hear his words coming from some other place takes some getting used to.
Natalie Portman gives her strongest performance yet as Evey, an orphan who slowly comes to understand the truth behind the deaths of her family. Even after Evey's hair is shaved off by torturers, Portman keeps you focused on her words and actions instead of her bald head.
V rescues her from government henchmen. Her deep brown eyes first reflect gratitude, then horror when the terrorist brings her to his safe house and plots to keep her locked up there. Parallels to "The Phantom of the Opera'' are obvious when V plays his jukebox for her ("Cry Me a River,'' of all songs) and invites her for a spin around the floor.
Light moments like their slow dancing or V fencing alongside "The Count of Monte Cristo'' ("the one with Robert Donat,'' he tells Evey, distinguishing it from inferior remakes) come as a relief after relentless gloom and doom. Gruesome torture scenes seem intended to evoke both World War II concentration camps and Iraq. Persecution of gay people, described in long letters written on toilet paper by a lesbian who's been incarcerated, are another reminder of the Nazis, as is England's Hitler-like chancellor (a terrifyingly believable John Hurt). Times do change -- most of "Vendetta'' was shot in Germany to save money.
The chancellor appears on a large screen barking out orders to his underlings to stop V after he blows up the Old Bailey to the accompaniment of the "1812 Overture." Not one to miss an opportunity to show off, V sets off fireworks around the incinerated building as if it were the Fourth of July. A chunk of the budget must have gone into impressively convincing scenes of British landmarks exploding.
To the credit of everyone involved with this movie, it's about a lot more than explosions. Provocative thoughts are what rise up from the ashes.
by Ruthe Stein
http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2006/03/16/DDGG9HO5VT1.DTL&type=movies
