Tag Archives: Imogen Poots

The Wachowski’s V For Vendetta

As far as comparing The Wachowski’s V For Vendetta to its source material by Alan Moore, I may be one of the only few who feels like the film is an improvement. The graphic novel is beautifully written but bleak and drab in many instances where the film adopts a rich, full bodied and ever so slightly hopeful tone in the adaptation forage. I know Moore is somewhere out there in his yurt on the plains, reading my review on a 3G tablet and cursing my name, but oh well. Fierce political commentary, blitzkrieg action picture, careful interpersonal drama and more, this has aged well (scarily well depending on the angle one views it from) and holds up gorgeously fourteen November 5ths on since its release.

Natalie Portman and Hugo Weaving make Stockholm Syndrome sexy again as Evey and V, two very different individuals whose lives have both been upended by the tyrannical, fascist British Government. He’s a vicious vigilante freedom fighter with scars on the outside and inside, she’s a wayward civilian swept up in his brutal quest to overthrow an evil dictator (John Hurt in beast mode), first as witness and later as accomplice. This involves a complex laundry list of various betrayals, sieges, escapes and terrorist acts, all brought to life in breathtaking spectacle. An underdog secret policeman (Stephen Rea, a study understated excellence) doggedly pursues them and questions his own loyalties, while the chosen date of Guy Fawkes day (hey, that’s today!) looms ever closer and with it V’s promise to blow the shit out of the parliament block.

V says it best when he growls: “People shouldn’t be afraid of their governments, governments should be afraid of their people.” There are large scale, prescient ideas at work here and despite being based on a graphic novel it feels eerily akin to our own world. V is a product of this damaged, corrupt system who has become a monster and is now ready to administer horrific dark justice on those who wronged him, working his way up an increasingly grotesque chain of despicable politicians with grim resolve. There’s a righteous fury to his quest and no other actor could have better captured the fire and brimstone behind that mask like Weaving does, he works wonders with his voice alone. There’s a lot more action than in Moore’s novel but can you really blame the Wachowskis? They are incredible at staging set pieces and the character of V suits the swooping, knife throwing, roof leaping, swash, buckle and bloody bodily harm on display here. There’s a strong undercurrent of compassion and humanity here to, as seen in my favourite sequence of the film: Portman’s Evey is locked up in a government prison and ready to wade into despair before she finds a rolled up scroll detailing the story of the cell’s former roommate and her struggles during the rise of this horrible regime. It’s in this short flashback scene alone we see all that’s worth fighting for in the microcosm of one girl’s life and feel the justification of not just V’s violent rampage but the collective uprising it stirs in the people. Great film.

-Nate Hill

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Green Room: A Review by Nate Hill 

Green Room has the same vicious, simplistic edge to it that director Jeremy Saulnier’s 2011 thriller Blue Ruin had, but sharpened and honed to near perfection this time around. This is one grim thriller, a claustrophobic little odyssey of desperate violence that’s thick with a sick, overwhelming atmosphere that isn’t for the faint of anything. A big part of what makes it work so well is the fact that it makes sense, in terms of scene to scene actions and character motivations. These aren’t cardboard horror protagonists darting through a predetermined rat maze of a narrative, these are real humans in a deadly situation who act accordingly, with both purpouse and realism. Atmosphere was a huge part of Blue Ruin, and now again Saulnier weaves a tense auditory cloak that puts the characters in the hot seat of danger and the audience in conniptions of suspense. It’s a situation straight out of a seething nightmare: a down and out punk band led by Anton Yelchin are on a dead end tour, severely strapped for cash and getting desperate. When a vague buddy hooks them up with a rural gig, they jump at the chance, until they find out they’re playing for a clubhouse full of angry neo nazi skinheads in a backwoods bar. Everything is going marginally well (as well as coexisting with nazis for a set could go, I suppose) until a member of their group accidentally witnesses one of these freaks brutally slaughter a girl, suddenly branding them all as witnesses. With nowhere to go, the band barricades themselves into the green room and descends into a collective panic as the reality of their situation sets in. Outside, an armada of furious Aryan psychopaths prepares to siege the bar and kill them, led by the clubhouse owner, Darcy (a wicked, malevolent Patrick Stewart, loving every second of a rare villain role). The film clocks in at a scalpel sliced 90 minutes, with not a second wasted on anything that doesn’t propel the story forward with the momentum of a machete ripping through bone. These dudes are out to get them at any cost, and the band in turn are whipped into an adrenaline overdrive of base survival instinct, using anything they can to dispatch their tormentors and escape. Yelchin does an excellent job of making their plight feel uncannily real, the terror emanating from every pore until there’s none left, and empty, deadly resolve sets in. Imogen Poots is great as one of the clubhouse girls, a no nonsense spitfire with revenge on the brain and the will to make it happen. Stewart chomps at the bit with an eerie calm and articulate, insidious presence, a genius casting decision and a joy to see in menacing action. I’m curious to see how much farther Saulnier can push the envelope with his next film, which I’ve heard will be the last entry in this episodic trilogy. This one shows us what a real thriller is, one that pumps your pulse to a boiling point and makes you glad there are filmmakers out there with the balls and creative know-how to make something like this happen. Just bring a thick skin, there’s a ton of graphic and very realistic looking violence. Unbelievably terrific stuff.