Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
A seasoned FBI agent pursues Frank Abagnale Jr. who, before his 19th birthday, successfully forged millions of dollars' worth of checks while posing as a Pan Am pilot, a doctor, and a legal prosecutor.
Tells the story of Evey Hammond (Natalie Portman) and her unlikely but instrumental part in bringing down the fascist government that has taken control of a futuristic Great Britain. Saved from a life-and-death situation by a man in a Guy Fawkes mask who calls himself "V" (Hugo Weaving), she learns a general summary of V's past and, after a time, decides to help him bring down those who committed the atrocities that led to Britain being in the shape that it is in.Written by
The tagline references "The Bonfire Prayer". This is a song that commemorates "Guy Fawkes night", November 5th. It goes as follows: "Remember, remember, the fifth of November / Gunpowder, treason and plot / I see no reason why the gunpowder treason should ever be forgot / Guy Fawkes, Guy Fawkes, 'twas his intent / to blow up the King and the Parliament / Three score barrels of powder below / Poor old England to overthrow. / By God's providence he was catch'd / with a dark lantern and burning match / Holloa boys, holloa boys, make the bells ring / Holloa boys, holloa boys, God save the King! / Hip hip hoorah! A penny loaf to feed the Pope, a farthing o'cheese to choke him / a pint of beer to rinse it down. A faggot of sticks to burn him / Burn him in a tub of tar, burn him like a blazing star / Burn his body from his head, then we'll say ol' Pope is dead. Hip hip hoorah! Hip hip hoorah!" It is still recited in full at the famous Lewes bonfire night celebrations in East Sussex. See more »
When Finch tells Evey to back away from the lever towards the end of the film he pronounces the word in the American fashion (lev ver). In Britain the emphasis is is on the 'e' (lee ver). As the film depicts a Britain antagonistic to all things American it is doubtful that Finch would pronounce the word in this fashion. See more »
Remember, remember, the Fifth of November, the Gunpowder Treason and Plot. I know of no reason why the Gunpowder Treason should ever be forgot... But what of the man? I know his name was Guy Fawkes and I know, in 1605, he attempted to blow up the Houses of Parliament. But who was he really? What was he like? We are told to remember the idea, not the man, because a man can fail. He can be caught, he can be killed and forgotten, but 400 years later, an idea can still ...
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The Warner Bros, DC Comics, Vertigo and Silver Pictures logos are on black-and-white film, and are accompanied by part of the 1812 Overture, thus forming the impression that V is starting a transmission. See more »
I was a fan of the "V for Vendetta" graphic novel, and Alan Moore disinheriting the film was a bit discouraging. But he's always been a little crazy. The film version is everything I could have possibly hoped for - gripping, chilling, intense, exciting, heartbreaking. It gets Moore's music if not his exact words; elements are slightly different, subplots removed. But the idea - as V himself would be so proud to say - remains the same.
The plot is surprisingly complex and nuanced, and I don't want to give anything more away than the previews already have. Suffice it to say that a masked anarchist (voiced by Hugo Weaving) must save a young woman (Natalie Portman) during his attempt to expose corruption in the government. Weaving is perfectly cast, using his formidable physicality and imposing voice to give gravitas to the insanity of the character. Portman has gone from child to teen star and is finally emerging as a talented, adult actress following her Oscar-nominated turn in "Closer". Here, she gives her best performance to date as the orphan Evey. John Hurt is characteristically impressive as the enigmatic government leader, and Stephen Rea gives a wonderful supporting turn as the police inspector charged with finding V - before it's too late.
The Wachowski Brothers' former protégé, James McTiegue, takes on the directing duties here and helms an enormously impressive first feature, using every trick in the book in a manner reminiscent of his mentors' breakout hit "The Matrix". Unlike "The Matrix", McTiegue allows the story to be more of a focus than the action, and as a result the film is a tense and emotional thriller, with outbursts of spectacularly filmed and choreographed action. Showing more maturity and restraint than the Wachowskis, McTiegue doesn't show off, and his trickery isn't self conscious. When slow-motion overtakes a late action sequence, it seems as natural as breathing. The late cinematographer Adrian Biddle (the film is dedicated to his memory) does an outstanding job, Oscar-nominated Dario Marianelli's score is a fantastic accompaniment to the piece, and the visual effects are astonishing, terrifying, and deeply moving, especially in the climatic moments in Trafalgar Square.
With solid acting, great action, and fantastic technical wizardry, it sounds just like another "Matrix"-style ripoff. But the biggest difference in "V" is that it is a story of real ideas - not a fantastic, science fiction creation, but a genuine examination of the human condition. The power of fear takes center stage here - the fear of war, of disease, of famine. Fear is a basic human nature, and has been exploited as a weapon - a method of control - for centuries. And for those who would use it, a masked man waits in the shadows to carry out your sentence. The verdict? Vengeance. "V for Vendetta" is a must-see.
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