Read these two, and my suspicions of this movie lacking in real food for thought (prompted by the trailers), even as a non-fan, seem to have been confirmed...
Even with them thumbs-downing the bombing of London in the movie, I found this distinctive:
And from TIME:Jeff Giles wrote:"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 monster—and 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.
And at the end:Early in the comics he rescued a woman named Evey from government thugs, and she became his sidekick; later on he tortured Evey, to "help" her see his point of view. V was a freedom fighter, no question, but Moore never let you forget that he was also a terrorist, and as such he was both hero and villain. That was the sick, sad genius of the comic book: the government had taken everything from V, even his goodness.
Hmm."I think the most important thing is that people will go home and fight about it," [Natalie Portman] says. "We all realize that at a certain point, violence might be the only means of effectively combatting injustice, but it's always going to be subjective — what injustice is great enough to provoke you to harm someone else?"
Here's another tough question: whether V for Vendetta is the movie that will start that conversation. The kind of delicate ambiguity that Portman talks about is hard to achieve within the narrow constraints of a popcorn movie — morally speaking, they tend to be shot in black and white — and V may come off as a bit too noble for the movie's good. As both the product of violence and its perpetrator, he should be doubly twisted. "What was done to me was monstrous!" V snarls. "And they created a monster," Evey replies. But if V plays as a Phantom of the Opera monster, a Beauty and the Beast monster, a monster with a sweet, sad center, he becomes less than he should be: a mere action hero. Maybe that's a lot of nuance to ask of an action movie, but terrorism is a subject that demands nothing less. Give poor, tortured V back his goodness, and you take away his greatness.
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