V for Vendetta Reviews
A poorly paced and spectacularly disjointed rehash of Orwellian themes. It has a high production value and looks great, but suffers from a lack of narrative exposition that leads to sizable holes in the plot.
V for Vendetta has a playful-demon vitality, but it's designed to let political adolescents of every age congratulate themselves. It's rage against the machine by the machine.
V for Vendetta is a piece of pulp claptrap; it has no insights whatsoever into totalitarian psychology and always settles for the cheesiest kinds of demagoguery and harangue as its emblems of evil.
Speaking of love, things go blooey instead of gooey whenever heroine and hero come close enough to touch; far from being sensual, let alone erotic, the movie proves to be not much fun at all.
V for Vendetta engages in lots of speechifying about the importance of ideas and the freedom to question them. Ironically, though, the movie doesn't really seem to have any ideas of its own.
The quarter-century-old disgruntled fantasies of two English comic-book artists, amplified by a powerful movie company, and ambushed by history, wind up yielding a disastrous muddle.
V for Vendetta, directed by James McTeigue, almost always has something going on that is actually interesting, inviting us to decode the character and plot and apply the message where we will.
The swashbuckling first hour is superior to the second, which bursts at the seams with backstory, but a rousing climax makes this the most potent piece of agitpop in years.
V for Vendetta has something going for it that's rare in mainstream films: It has ideas. It has questions. And even when it pretends to have answers, it also raises questions about those answers.