Local Movie Reviews: September 2006 Archives
The shame of V for Vendetta is that it has a lot more on its mind than it knows how to handle. Here we have a film that is a stylized visual fantasy about the Individual vs. the State, a la The Matrix—courtesy of the same writers and executive producer—and that should resonate deeply with the spirit of the times, but instead it feels smug and obvious. Ostensibly the filmmakers wanted to provoke thought about one man’s terrorist being another man’s freedom fighter, but the movie stacks the deck all wrong. The end result is brazenly confused, invoking a great many things—the Holocaust, the War on Terror, etc.—without ever really building on them.
V is an adaptation of Alan Moore and David Lloyd’s graphic novel of the same name, and one of the odd things about the film is that its own distinct flaws further illuminate the problems I had with the original story to begin with. Moore is a visionary and an artist, but no great shakes as a political thinker, and so his story was essentially a fever dream in which a fascist and inhumane Britain gets its comeuppance thanks to a lone jester with a mask. The story’s most credible insight is that ideas are bigger than individuals, and that you can blow out a candle but not a brush fire, etc., but the movie takes even these few notions and trivializes them. The Wachowski Brothers seem to be consistently fascinated with the idea of the individual transcending the collective, but each time they’ve made a movie about it the results have been messy, to put it politely.
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