2008 Woodie Awards
The Reel Critic
JOE BERGAN
Issue date: 4/6/06 Section: Arts
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Every film critic in America spent much of the past month scrutinizing the Wachowski Brothers' newest film, "V for Vendetta." Although the images of "terrorism" within the film are striking, what really matters is it's fresh take on the superhero genre. The story follows V (Hugo Weaving), the possibly crazy government experiment with a penchant for bomb making.
His attempt to oust the fascists who have destroyed democracy in the name of a war on terror and Islam raises several controversial issues. It is clear that Alan Moore - the original author of the graphic novel on which the movie is based - will not be treated to a Crawford Ranch barbeque and quail hunt anytime soon. Evey (Natalie Portman), V's beautiful sidekick, haunted by her parents' past and the tyrannical world which surrounds her, spends most of the film deciding whether to turn against or to join V in his quest for justice.
Unlike other comic book action movies, this film proudly relies not only on the heroics of the villain or computer graphics (think the writers' famous Matrix Trilogy), but more on the complexities of society and the validation of V in the viewer's eyes. It seems that most of the movie is spent trying to convince the audience that blowing up a building in this post-9/11 world is something that an American audience can commiserate with. Like Ang Lee's "Brokeback Mountain" that exposes the homosexuality of all "buddy" movies, "V for Vendetta" brings to light the provocative question haunting all Superhero movies: "Isn't a superhero just a crazed lunatic fighting other crazed lunatics?" Batman is a rich man who dresses like a bat…think about it.
This film gives you Timothy McVey and allows you to sympathize with him. Unlike the crazed Oklahoma City bomber, however, V is innovative because his motives are not selfish, but altruistic. Most of the time, in films such as "Batman" or "Spiderman," the superhero just uses his powers to "get the girl." V has no interest in the flesh, a fact he reiterates continually, and as the film continues, it is uncertain whether V cares for Evey at all, let alone if he wants to bed her.
His attempt to oust the fascists who have destroyed democracy in the name of a war on terror and Islam raises several controversial issues. It is clear that Alan Moore - the original author of the graphic novel on which the movie is based - will not be treated to a Crawford Ranch barbeque and quail hunt anytime soon. Evey (Natalie Portman), V's beautiful sidekick, haunted by her parents' past and the tyrannical world which surrounds her, spends most of the film deciding whether to turn against or to join V in his quest for justice.
Unlike other comic book action movies, this film proudly relies not only on the heroics of the villain or computer graphics (think the writers' famous Matrix Trilogy), but more on the complexities of society and the validation of V in the viewer's eyes. It seems that most of the movie is spent trying to convince the audience that blowing up a building in this post-9/11 world is something that an American audience can commiserate with. Like Ang Lee's "Brokeback Mountain" that exposes the homosexuality of all "buddy" movies, "V for Vendetta" brings to light the provocative question haunting all Superhero movies: "Isn't a superhero just a crazed lunatic fighting other crazed lunatics?" Batman is a rich man who dresses like a bat…think about it.
This film gives you Timothy McVey and allows you to sympathize with him. Unlike the crazed Oklahoma City bomber, however, V is innovative because his motives are not selfish, but altruistic. Most of the time, in films such as "Batman" or "Spiderman," the superhero just uses his powers to "get the girl." V has no interest in the flesh, a fact he reiterates continually, and as the film continues, it is uncertain whether V cares for Evey at all, let alone if he wants to bed her.