V for Vendetta
- Thread starter mobius
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All I know is Larry Wachowski is one freaky-wierd dude!!!
http://www.rollingstone.com/news/story/_/id/9138137?rnd=1137100156948&has-player=true
http://www.rollingstone.com/news/story/_/id/9138137?rnd=1137100156948&has-player=true
I can't wait to see it. I think a bunch of my friends from school and I are going to go see it opening day. Looks awesome.
Hope it sticks to the original graphic novel as much as possible.
Funny you mention that, considering John Hurt is in both films.stoney98 said:
The graphic novel is a little less futuristic, but just as vicious as 1984.
The government officials remind me of the sh*theads that came to power under Hitler: bottom of the barrel types who did the dirty work for the Nazi leadership.
If you liked 1984, you would probably like "Anthem" by Ayn Rand.stoney98 said:
Anyhow, I can't wait to see V for Vendetta.
cant wait for it, i am taking a class right now, terrorism in the modern world and this movie follows 9or is supposed to) a lot of the same types of themes we have been going over in the class.
Can't wait to see it.
Anarchy in the U.K.
'V for Vendetta' tries talkin' about a revolution.
By Jeff Giles, Newsweek
March 20, 2006 issue - V for Vendetta" will get its share of dismissive reviewsprobably more than enough to convince hard-core fans that the movie was simply too smart and dangerous to be given safe passage. In point of fact, though, "Vendetta" is not good. The film may spark interesting debatesabout the nature of terrorism and governments, about the inalienable right of artists to shock and provokebut what we're dealing with is a lackluster comic-book movie that thinks terrorist is a synonym for revolutionary.
It is 2020 and a totalitarian government rules England, its symbol a modified crucifix, its slogan "Strength Through Unity, Unity Through Faith." By day, the loquacious masked man who calls himself V (Hugo Weaving) dwells in an underground lair filled with art he's stolen back from government censors. By night, he cuts the throats of government baddies and plots to blow up Parliament, á la Guy Fawkes, both to foment revolution and to avenge whatever mysterious evil was done to him back before he skulked around like the Phantom of the Opera.
"Vendetta" is based on an '80s-era graphic novel rife with outrage over Margaret Thatcher's England. But, as adapted by the Wachowski brothers and directed by their protégé James McTeigue, the movie plays like a clumsy assault on post-9/11 paranoia. It references "America's war," uses imagery direct from Abu Ghraib and contains dialogue likely to offend anyone who's not, say, a suicide bomber. Buildings are symbols, V tells a haunted young woman named Evey (Natalie Portman), after saving her from some vile, rampaging cops: "Blowing up a building can change the world." The filmmakers have insisted that V is not intended to be a hero. Which is bollocks. The movie grants him absolute moral superiority from beginning to end. Sure, Evey tells him he's a monsterand then tries to make out with his mask. In a movie, when the pretty girl falls in love with you and stays in love with you, you're a hero.
These may seem like airy objections to something principally meant to entertain, so it's only fair to note that "V for Vendetta" fails on that score, too. The movie looks scarily lovely in the comic-book-noir style that's now a given. But the screenplay is full of clichéd caricatures of power-hungry Christians and government-controlled TV anchors, as well as being extremely talky. (The Wachowskis' presence is felt not just in the movie's imageryin the slow-mo shot of raindrops and in the vapor trails that follow V's ching-chinging knivesbut in the endless scenes in which people sit around explaining stuff.) Curiously, "Vendetta" is least rousing at the climax, when the people of London seem poised to join V in an orgy of violence. Never mind what it makes on opening weekend, someone should have thrown himself on this bomb.
'V for Vendetta' tries talkin' about a revolution.
By Jeff Giles, Newsweek
March 20, 2006 issue - V for Vendetta" will get its share of dismissive reviewsprobably more than enough to convince hard-core fans that the movie was simply too smart and dangerous to be given safe passage. In point of fact, though, "Vendetta" is not good. The film may spark interesting debatesabout the nature of terrorism and governments, about the inalienable right of artists to shock and provokebut what we're dealing with is a lackluster comic-book movie that thinks terrorist is a synonym for revolutionary.
It is 2020 and a totalitarian government rules England, its symbol a modified crucifix, its slogan "Strength Through Unity, Unity Through Faith." By day, the loquacious masked man who calls himself V (Hugo Weaving) dwells in an underground lair filled with art he's stolen back from government censors. By night, he cuts the throats of government baddies and plots to blow up Parliament, á la Guy Fawkes, both to foment revolution and to avenge whatever mysterious evil was done to him back before he skulked around like the Phantom of the Opera.
"Vendetta" is based on an '80s-era graphic novel rife with outrage over Margaret Thatcher's England. But, as adapted by the Wachowski brothers and directed by their protégé James McTeigue, the movie plays like a clumsy assault on post-9/11 paranoia. It references "America's war," uses imagery direct from Abu Ghraib and contains dialogue likely to offend anyone who's not, say, a suicide bomber. Buildings are symbols, V tells a haunted young woman named Evey (Natalie Portman), after saving her from some vile, rampaging cops: "Blowing up a building can change the world." The filmmakers have insisted that V is not intended to be a hero. Which is bollocks. The movie grants him absolute moral superiority from beginning to end. Sure, Evey tells him he's a monsterand then tries to make out with his mask. In a movie, when the pretty girl falls in love with you and stays in love with you, you're a hero.
These may seem like airy objections to something principally meant to entertain, so it's only fair to note that "V for Vendetta" fails on that score, too. The movie looks scarily lovely in the comic-book-noir style that's now a given. But the screenplay is full of clichéd caricatures of power-hungry Christians and government-controlled TV anchors, as well as being extremely talky. (The Wachowskis' presence is felt not just in the movie's imageryin the slow-mo shot of raindrops and in the vapor trails that follow V's ching-chinging knivesbut in the endless scenes in which people sit around explaining stuff.) Curiously, "Vendetta" is least rousing at the climax, when the people of London seem poised to join V in an orgy of violence. Never mind what it makes on opening weekend, someone should have thrown himself on this bomb.
That article as some great one liners. Her greatest accomplishment... brilliant.N8 said:
I'm pretty sure there was a banner for it at Imax. 
I dunno...I saw it recently...I wasn't overly impressed. It was fine, amusing even, but there was very little wow factor for me.
My least favourite part of the Matrix series was the Architect...his dialogue was clearly drafted tediously from a thesaurus, in an effort to make the thin dialogue seem insightful. V was the same character.
So...boring and obvious political statements, thin characters, and hugely disappointing anti-climax...meh. I was expecting more.
My least favourite part of the Matrix series was the Architect...his dialogue was clearly drafted tediously from a thesaurus, in an effort to make the thin dialogue seem insightful. V was the same character.
So...boring and obvious political statements, thin characters, and hugely disappointing anti-climax...meh. I was expecting more.
it's one of my favorites. The torture scenes really get the mind going.
Dunno if I'd go awesome, but definitely a good one. Natalie Portman did a great job there.
I liked her in that "cute" girlie outfit. Does that make me dirty?
