V de Vingança

felipef · February 20, 2006

RAZIEL · February 20, 2006

Gustavo Adler · February 21, 2006

felipef · February 21, 2006

felipef · February 21, 2006

RAZIEL · February 21, 2006

Gustavo Adler · February 21, 2006

felipef · February 21, 2006

felipef · February 21, 2006

RAZIEL · February 22, 2006

felipef · February 22, 2006

felipef · February 22, 2006

Continuando com as news, porque é a única coisa que me interessa. Direto do: http://www.natalieportman.com/ :

The one bit of V news today is Australian Empire Magazine giving it 5 stars. v4v posted a summary...

felipef · February 22, 2006

The new film V for Vendetta is a seriously

flawed, but entertaining, take on Alan Moore's comic series of the same

title. It concerns a young woman who works in a TV studio, Evey Hammond

(Natalie Portman), and her political awakening at the hands of the

masked revolutionary known only as V (Hugo Weaving). Together, they

fight the Orwellian government that has taken over an England of the

near future. This government is lead by the slightly insane, but still

compelling, Chancellor Sutler (John Hurt).

The plot itself is interesting and well told. It gives the film a

purpose and shows a certain amount of political awareness. It suggests

that society's problems aren't caused by terrorists, but by our fear of

terrorists and what the government does with that fear. Though this

idea is the basis for the plot, the film uses it more as an excuse for

action sequences then as a complex thematic element worthy of

exploration. This helps link the plot-points thematically and prevents

the movie from seeming completely pointless, but doesn't provide any

material for discussion after the movie is over.

The characters don't provide much to hold on to either. Though Evey

and V are each given a back story, they are never really fleshed out as

characters. A motive for revenge is not the same as showing what

compels a character to seek that revenge. The actors themselves never

add anything significant to the characters. All of the acting is

adequate and no one can be singled out as being the worst in the film.

Ms. Portman, however, seems to be rehashing her performance as Queen

Amidala in the Star Wars prequels, which prevents the bar from being

set very high.

Written by Matrix creators the Wachowski Brothers and directed by

the Assistant Director of the entire trilogy, James McTiegue, this film

owes a lot to those predecessors. The visual style is almost a direct

lift from the Matrix films. The use of high contrast film stock is a

good example. In this case, the high contrast detracts from the overall

aesthetic because it attempts to make the movie seem more “real” and

“gritty.” Instead, it only succeeds in making the film look like a car

commercial. This technique has been overused in action films and now

makes them all feel like they “have been done before.” Add to this an

overwhelming score that is spread thick over every frame and the

filmmakers prove that they have no confidence in their own visual

abilities. Film is a visual medium. Good cinematography and careful

editing are usually enough to convey any emotion. Music should be used

to heighten that emotion, not as a billy club to beat the audience into

feeling a certain way.

In The Matrix, the Wachowskis perfected the use of bold, iconic

imagery to encode a look of “cool” in the films. In V, McTiegue

attempts the same thing, but with much less aplomb. Because of this,

the props, costumes, and the sets look a little flat and lacking in

detail. Rather then creating powerful images that grab and hold the

audience's attention, McTiegue only succeeds in trying to use a

gimmick.

The failure to create an interesting visual feeling in the movie

could be what inspired its editing, which is so fast that even the most

patient film-goer may leave the theater with a bad case of ADD. The

editor, Martin Walsh, refuses to leave any shot in place for more then

a few seconds. This can be a useful technique when in the midst of an

action sequence because it keeps things exciting. However, when an

entire movie is cut this fast, it becomes irritating. Consequently,

when an action sequence comes along and fast cutting becomes necessary,

it is no longer effective. Because of this, the movie lacks emotional

highs and lows. Everything runs together and each moment feels the same

as the one before. This is reflected not just within each scene, but in

the pacing of the entire movie. The story takes place over the course

of one year, but feels like it takes only a few days. Every event

happens so quickly that referencing the date in the dialogue is the

only thing that lets the audience know when time has passed.

Film techniques are a lot like crack – use a little and get high,

use too much and lose that high. If the filmmakers learned this, they

might, one day, create a truly great film. Instead, audiences are

treated to yet another mediocrity. V for Vendetta is the kind of film

you watch once, but never think about again. It won't cause any serious

ripples in the flow of cinematic history, but it won't leave anyone in

disgust either. The simplistic way it deals with complex issues, as

well as its unoriginal aesthetic prevent it from being memorable. It

will provide an amusing way to spend an afternoon, but don't expect

anything you haven't already seen.

Overall Grade – C-

http://iesb.net/warnerbros2006/021506.php

felipef · February 22, 2006

V for Vendetta

(U.S.-Germany)

A

Warner Bros. Pictures release and presentation in association with

Virtual Studios of a Silver Pictures production, in association with

Anarchos Prods. (U.S.) with the assistance of Medienboard

Berlin-Brandenburg (Germany). Produced by Joel SilverJoel Silver, Grant Hill, Andy WachowskiAndy Wachowski,

Larry Wachowski. Executive producer, Benjamin Waisbren. Co-producers,

Roberto Malerba, Henning Molfenter, Carl L. Woebcken. Directed by James

McTeigue. Screenplay, Andy Wachowski, Larry Wachowski, based on the

graphic novel illustrated by David Lloyd, published by Vertigo/DC

Comics.

Evey - Natalie Portman

V - Hugo Weaving

Finch - Stephen Rea

Deitrich - Stephen Fry

Adam Sutler - John Hurt

Creedy - Tim Pigott-Smith

Dominic - Rupert Graves

Lewis Prothero - Roger Allam

Dascomb - Ben Miles

Delia Surridge - Sinead Cusack

Valerie - Natasha Wightman

Etheridge - Eddie Marsan

Little Glasses Girl - Billie Cook

By LESLIE FELPERINAlthough often visually striking and

undercoated by a compelling sci-fi concept, graphic-novel adaptation "V

for Vendetta" feels flat as a storyboard. Chiming faintly with current

counterculture vibe in higher-browed films, dystopian "Vendetta" posits

a masked "terrorist" hero (Hugo Weaving) trying to overthrow a fascist

state in future BlightyBlighty. Helmed by James McTeigue, pic suffers from many of same problems as last two installments of producers Andy and Larry WachowskiLarry Wachowski's

"Matrix" franchise: indigestible dialogue, pacing difficulties and too

much pseudo-philosophical info. Pic should open with a bang in late

March but may fizzle quickly.

Alan Moore, the author of the much

admired graphic novel "V for Vendetta," disassociated himself from this

production and had his name removed from the credits. This should make

his fan base extra wary, especially since two critically panned pics

("From Hell," "The League of Extraordinary Gentlemen""The League Of Extraordinary Gentlemen") have already been hatched from options sold on Moore's work.

Plot

differs substantially from the written version, which was issued

complete as a graphic novel in 1989. Simplified movie version, penned

by the Wachowski brothers, gamely tries to retain key plot points that

will serve as mass market entertainment, while half-heartedly updating

Moore's allegorical digs at Thatcher's Britain in the '80s to reflect

current leftist fears about what a future totalitarian state might

repress -- not just homosexuality but Islam, too.

Brit auds, however, may feel pic has missed a trick by not taking a sharper swipe at Tony Blair's regime.

Opening

prologue shows Guy Fawkes, the Catholic conspirator who tried to blow

up Parliament in 1605 and whose "treason" is remembered every Nov. 5 in

the U.K. with fireworks displays.

Post-credits, story shifts to

2020, after worldwide unrest, mysterious deadly viral outbreaks and

fear have caused the populace to elect a neo-fascist state, run by

demagogic Chancellor Adam Sutler (John Hurt).

On Nov. 4, TV station gopher Evey (Natalie PortmanNatalie Portman)

is saved from a gang of Fingermen, thuggish quasi-police agents intent

on raping her, by V (Weaving), a poetry-spouting, caped avenger wearing

a Guy Fawkes mask, who at midnight blows up the Old Bailey, London's

central criminal court.

The government tries to spin the

explosion, but V breaks into the station where Evey works and manages

to get his revolutionary, anti-Sutler message broadcast, promising to

blow up Parliament in exactly a year's time. While at the station, he

also saves Evey from two coppers, Finch (Stephen Rea) and his sidekick

Dominic (Rupert Graves), who've come to arrest her.

Pic next

metronymically crosscuts between V killing off various characters who

wronged him, and Finch and Dominic investigating the murders, which

leads to lots of explicatory flashbacks.

Thesping lineup offers

an embarrassment of riches, which, unfortunately, the weak helming by

McTeigue rather squanders. Bambi-eyed Portman cries affectingly, and

looks fetching with a shaved head, but her character is essentially

passive and not especially interesting. (Portman's accent also wavers

distractingly across classes, from Cockney to middle-England posh.)

Meanwhile, the film suffers as its most active character, V, is hidden behind a mask and helmeted with one of CherCher's

old Cleopatra-style wigs for almost the entire running time. Weaving

tries hard with voice and movement to add expression, but there's still

nearly zero chemistry between the leads.

Supports, cast

predictably, are mostly just OK. Sinead Cusack as one of V's victims

manages to register one of pic's few moments of emotional complexity.

Helming

debutant McTeigue cites in press notes that 1965's "The Battle of

Algiers" was one of the film's stylistic inspirations, but evidence

here suggests he may be thinking of an entirely imaginary film that

bears no relation to that docudrama classic.

Perhaps helmer

thinks that the trite cutaways in "Vendetta" to stereotypically

ordinary Brits roused by V's message bear some likeness to the fervid

mix of minor characters in Gillo Pontecorvo's film.

In the end,

competent but bland craft contributions ensure pic looks less like

sci-fi stalwarts "A Clockwork Orange" and "Fahrenheit 451" and more

like "Batman Begins" or "Van Helsing."

Action sequences are

serviceable but disappointing given the Wachowski pedigree, the most

striking being the final carve-up between V and a room full of heavies.

Pic is thankfully light on CGI work and gets its most rousing moments

from old-fashioned pyrotechnics and, of all things, a huge domino

cascade.

Camera (Technicolor, widescreen), Adrian

Biddle; editor, Martin Walsh; music, Dario Marianelli; production

designer, Owen Paterson; art directors, Sarah Horton, Sebastian

Krawinkel, Steve Bream; set decorator, Peter Walpole; costume designer,

Sammy Sheldon; sound (Dolby Digital/DTS Digital/SDDS), Tom Sayers;

supervising sound editor/sound designer, Glenn Freemantle; special

effects supervisor, Uli Nefzer; visual effects supervisors, Matt

Johnson, Thrain Shadbolt; associate producer, Jessica Alan; assistant

director, Alex Kirby; casting, Lucinda Syson. Reviewed at Berlin Film

Festival (noncompeting), Feb. 12, 2006. Running time: 131 MIN.

(English dialogue)

Variety is striving to present the

most thorough review database. To report inaccuracies in review credits, please click here.

We do not currently list below-the-line credits, although we hope to

include them in the future. Please note we may not respond to every

suggestion. Your assistance is appreciated.

Date in print: Tue., Feb. 14, 2006, Los Angeles

http://www.variety.com/review/VE1117929587?categoryid=31&amp ; ;cs=1

felipef2006-2-22 9:30:3

felipef · February 22, 2006

http://www.aintitcool.com/display.cgi?id=22472

It’s been interesting to sit silently on the sidelines for this one

so far, having seen it at Butt-Numb-A-Thon with everyone who rushed

here to AICN to sing hosannahs about this “revolutionary” motion

picture that would “change the world,” and also paying close attention

to the brewing controversy so articulately summed up by a reviewer on the Liberty Film Festival site, who I know has also seen the film.

I haven’t written about it yet because... I just haven’t. Other

things took priority. It’s not coming out until March, so it’s not like

I missed anything. This past weekend, it finally started screening for

the public at WonderCon in San Francisco and at the Berlin Film

Festival. That odd dichotomy should say a lot about what kind of film

this is. It’ll play well at a serious festival like South by Southwest,

certainly, but it’s also perfect for the New York Comic-Con, where it’s

showing as well. Publications like THE HOLLYWOOD REPORTER and VANITY

FAIR have flipped for the movie, while VARIETY dismissed it and took

the opportunity to fire off a few more shots at the MATRIX trilogy for

good measure. Finally, audiences are getting their first chances to

decide for themselves what they think about this provocative film from

writer/producers Andy and Larry Wachowski, directed by James McTeigue,

and adapted (loosely or succinctly, depending on who you talk to) from

the work of Alan Moore and David Lloyd.

Before we even begin, I want to address the elephant in the room

and say that anyone who thinks this film is just a simplistic attack on

conservative America is missing the point. I’m sure that right now,

being on one side of the wall or the other in the polemic war that’s

been simmering ever since Bush took office must make it incredibly

difficult to see something outside the narrow prism of current

political metaphor, but not everything that has a political opinion is,

in fact, about Bush. There is imagery in this film that refers to our

present, but just as much refers to our past and even a hypothetical

future.

Alan Moore’s book, and this movie, are larger than any simple

direct political targets, though. They are instead a reminder of how

fascism works, and if the conservatives in this country are going to

get upset about that, then perhaps they need to examine their own

agenda. Are you a fascist? No? Well, then the movie’s probably not

directly about you. Remember when the source material was written...

Margaret Thatcher is a more direct political target in terms of the

origins of this story than Bush is. And there are many other real-world

parallels that find their way into the film that have nothing to do

with any current administration anywhere. And remember... the

Wachowskis first started trying to adapt this and get it produced well

before Bush took office.

All of that is real world business, stuff that some people will

choose to carry into the theater with them, and maybe you’ll even argue

that you can’t help but carry that baggage into the theater. I would

argue back that anytime you do that, you’re limiting your own ability

to enjoy or even understand a film. Yes, THE CRUCIBLE was written as a

direct reaction to McCarthy and the Hollywood blacklist, but the reason

THE CRUCIBLE will endure is because it’s a potent piece about any

situation where mass hysteria and crowd thinking gets out of hand, and

will always be accurate in terms of the way people relate. It’s great

writing.

The original Alan Moore/David Lloyd book is pretty damn great in

its own right. It’s not the best thing Moore ever wrote, and it’s

pretty obvious that it’s early in his career. It’s a major turning

point for him as an artist, I think. It is to Moore what RUBBER SOUL is

to the Beatles. I’m sure there are people who think RUBBER SOUL is

their best record, and I’d never argue against it, but I think more

people would say SGT. PEPPER or even THE WHITE ALBUM are their

masterworks, so maybe it’s WATCHMEN or FROM HELL that you prefer. V FOR

VENDETTA works because of how much Moore and Lloyd believe in the world

that they’ve created, a fascist England where freedom was traded for a

stifling, artificial safety, and because it focuses on particular

characters in a particular situation.

Calling the fears that V FOR VENDETTA articulates “left-wing” or

“liberal” is rather limiting, and limited. I’m sure no one anywhere

ever believes that they would be capable of survival and conformity in

a world where fascism is acceptable, the norm. No one wants to believe

they’d be capable of having been a “good German” during WWII. No one

wants to think they’d allow something like that to happen. But it can.

Of course it can. And it has and it will. And that’s why a film like

this resonates. This is about the way any monolith that wants to

control a nation treats its people, the way they are dehumanized, the

way their spirits can be broken, and the way they are treated as less

than human by the ruling class. V FOR VENDETTA makes personal that

process of dehumanization in such a powerful way that I can’t imagine

resisting it. Especially since Evey, the central character in both the

book and the film, is brought to vivid life by Natalie Portman, doing

arguably her best work since THE PROFESSIONAL.

So. All of that is precursor. Let’s get down to the actual film,

and let’s put everything else aside. Let’s put aside comparisons to the

book. Let’s put aside real-world politics. Let’s just discuss it as a

movie.

As a movie, I think it’s pretty good. I think it’s got moments of

greatness, and I think it also misses some of the opportunites that it

sets up. Overall, I think it’s a potent piece of SF that fits neatly

into a tradition of films like PLANET OF THE APES and THE OMEGA MAN,

movies that wear their earnest metaphors on their sleeves, totally

obvious. It’s lushly photographed by Adrian Biddle, his last film, and

it’s got a great hyper-real look and feel thanks to the production

design of Owen Paterson and Martin Walsh’s ultra-slick editing. The

score by Dario Marianelli is particularly good, effective and memorable.

What makes the film work, though, isn’t the SF setting or the look

or the buckets of money that have obviously been spent on it. Nope.

What makes it work is the fact that we have here something that we

rarely see in SF films these days... a movie about ideas over action,

character over special effects, and emotion over action.

Y’know... like THE MATRIX.

I’m sure there will be a lot of speculation about just how much

control the Wachowskis really had over the film, and I’m equally

willing to bet we’ll see a whole lot of “McTeigue didn’t really direct

this” comments, and this will probably end up being the new POLTERGEIST

in terms of a director being disrespected or ignored in favor of the

producer, but without actually having been on-set for the whole shoot,

it’s kind of hard to say who did what. McTeigue is indeed the credited

director, and it’s a really accomplished bit of filmmaking for

someone’s first time out. It’s obvious that the creative influence of

the Wachowskis can be felt in every frame of the film, and that this is

of a piece with their MATRIX films in terms of production value. It

feels like the logical next step fro them, and it will fit neatly into

their filmographies when people look back at their careers. Many of the

things that concern them the most as writers are on display here, and

it helps that Hugo Weaving gives voice to V.

There are two performances that have to work if V FOR VENDETTA is

going to deliver. The first is Evey, and as I said before, Natalie

Portman does really nice work here. I know that James Purefoy was

replaced during production, and that Hugo Weaving stepped in to play V.

I’m not sure how much of what we see onscreen is Weaving, but the voice

is his throughout, and he’s wonderful, commanding and playful and sad

and angry in equal measure. He has the incredibly difficult task of

never once showing his face, but still having to give a nuanced and

subtle performance as a human being, and not just a mask. As with the

book, the emotional highlight of the film is an extended sequence in

which Evey is captured by the government, held for weeks, and tortured

in an effort to get information from her about the identity and

location of V. It’s translated to the screen almost word for word from

the book, beat for beat, and it’s even more powerful than I expected it

to be. It also serves as one of the most succinct and beautiful

summations of what torture is meant to do and how it can be withstood

that exists in any film.

So why am I not raving about the movie the way many of the BNAT

attendees were in December? Why didn’t I make it a part of my “best of

the year” list like Harry did?

Because this film is so heavy on the metaphor, there are places

where I think it disconnects from real human experience, and that

bothered me. I also think it has an easy third act. There’s never

really any danger that V will not accomplish his goals, because he

seems to be omnipotent and magic, able to do anything, be anywhere, and

ignore whatever laws of physics he feels like. There are a few action

sequences where there’s a sort of next-step-bullet-time effect that’s

used to show the movement of knives through the air that seem

unnecessary. This isn’t an action film, and in a way, the few action

scenes that are included sort of stop the show cold.

Having said that, I would still recommend this to anyone who wants

to see SF treated with respect, or who has wondered when we would

finally see a film capture the precise flavor of an Alan Moore book.

Even though this film take liberties with the narrative, it works

overtime to maintain the same ideas that the book tried to express, and

it’s sort of incredible that this is being released by a studio as huge

as Warner Bros.

Just remember... conservatives aren’t fascists, and liberals aren’t

hippies or pinkos, and it is possible to watch and even enjoy a film

that deals with political themes without having to agree with every

single idea in it. I don’t think V FOR VENDETTA is going to change the

world. I don’t think it’s going to cause any sort of revolution. I

don’t think this film will even set off a major debate in the media. I

do think that it will provide potent fodder for conversation to anyone

who approaches it with an open mind, though, and that alone makes it

worthwhile.

I’ve been down with a particularly nasty stomach virus for a little

while, so everything I was working on got waylaid. I’m starting to get

up and around, so keep your eyes peeled for the real return of the DVD

SHELF and some new reviews for both films and, yes, scripts. Also, get

ready for a series of special articles and surprises all designed to

help celebrate the tenth anniversary of AICN, all starting soon. 2006

is going to be a great year here at the site, and I look forward to

sharing it with all of you. Until then...

"Moriarty" out.

felipef · February 22, 2006

E o Mike D´Angelo (que gosto) deu [51] para o filme.

C+

Lucky Number Slevin (54)

Wassup Rockers (53)

Isolation (53)

A Cock and Bull Story (52)

A Guide to Recognizing Your Saints (52)

V for Vendetta (51)

Factotum (50)

Right at Your Door (49)

Friends With Money (49)

Steel City (49)

Flannel Pajamas (48)

The Peter Pan Formula (48)

TV Junkie (48)

Free Zone (48)

http://www.panix.com/~dangelo/bygrade06.html

felipef · February 22, 2006

Confirma-se então as opiniões diversas...

felipef · February 22, 2006

Conferência de Berilm:

http://vforvendetta.warnerbros.com/cmp/berlin_video_presscon .html

E as fotos:

http://vforvendetta.warnerbros.com/cmp/berlin_photos_pressco n.html

felipef2006-2-22 9:45:17

felipef · February 22, 2006

Fawkes no filme. Melhor foto até agora.

Rafal · February 22, 2006

Alguém lê essas notícias gigantescas?

felipef · February 22, 2006

Sim.

felipef2006-2-22 13:26:15

RAZIEL · February 22, 2006

felipef · February 22, 2006

RAZIEL · February 23, 2006

Gustavo Adler · February 23, 2006

V de Vingança

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V for Vendetta

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I haven’t written about it yet because... I just haven’t. Other

Before we even begin, I want to address the elephant in the room

Alan Moore’s book, and this movie, are larger than any simple

All of that is real world business, stuff that some people will

The original Alan Moore/David Lloyd book is pretty damn great in

Calling the fears that V FOR VENDETTA articulates “left-wing” or

So. All of that is precursor. Let’s get down to the actual film,

As a movie, I think it’s pretty good. I think it’s got moments of

What makes the film work, though, isn’t the SF setting or the look

Y’know... like THE MATRIX.

I’m sure there will be a lot of speculation about just how much

There are two performances that have to work if V FOR VENDETTA is

So why am I not raving about the movie the way many of the BNAT

Because this film is so heavy on the metaphor, there are places

Having said that, I would still recommend this to anyone who wants

Just remember... conservatives aren’t fascists, and liberals aren’t

I’ve been down with a particularly nasty stomach virus for a little

"Moriarty" out.

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