The story of Frank Abagnale Jr., before his 19th birthday, successfully forged millions of dollars' worth of checks while posing as a Pan Am pilot, a doctor, and legal prosecutor as a seasoned and dedicated FBI agent pursues him.
Tells the story of Evey Hammond 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, 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
Alan Moore, writer of the original graphic novel, greatly disliked the film, criticizing the script for "having plot holes you wouldn't have gotten away with on Wizzer and Chips in the 1960s". He ended cooperation with his publisher, DC Comics, after its corporate parent, Warner Brothers, failed to retract statements about Moore's supposed endorsement of the film. Joel Silver said at a press conference that Lana Wachowski had talked with Moore, and that "Moore was very excited about what Lana had to say." Moore disputed this, reporting that he told Wachowski "I didn't want anything to do with films. I wasn't interested in Hollywood," and demanded that DC Comics force Warner Brothers to issue a public retraction and apology for Silver's "blatant lies". Although Silver called Moore directly to apologize, no public retraction appeared. Moore was quoted as saying that the comic book had been "specifically about things like fascism and anarchy. The words 'fascism' and 'anarchy' occur nowhere in the film. It's been turned into a Bush-era parable by people too timid to set a political satire in their own country." This conflict between Moore and DC Comics was the subject of an article in The New York Times on March 12, 2006, five days before the U.S. release. In the New York Times article, Silver stated that about twenty years prior to the film's release, he met with Moore and David Gibbons when Silver acquired the film rights to V For Vendetta and Watchmen. Silver stated: "Alan was odd, but he was enthusiastic and encouraging us to do this. I had foolishly thought that he would continue feeling that way today, not realizing that he wouldn't." Moore did not deny this meeting, nor Silver's characterization of Moore at that meeting, nor did Moore state that he advised Silver of his change of opinion in those approximately twenty years. The New York Times article also interviewed David Lloyd about Moore's reaction to the film's production, stating, "Mr. Lloyd, the illustrator of V for Vendetta, also found it difficult to sympathize with Mr. Moore's protests. When he and Mr. Moore sold their film rights to the comic book, Mr. Lloyd said: "We didn't do it innocently. Neither myself nor Alan thought we were signing it over to a board of trustees who would look after it like it was the Dead Sea Scrolls."" See more »
The number of dominoes standing when all the other dominoes have fallen changes from two (the one V picks up, plus one other further back in the shot) to just one (the one V picks up). 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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