V for Vendetta
James McTeigue, the former first assistant director of such films as 1999's The Matrix, 1998's Dark City, and the IMAX versions of Matrix Revolutions, Reloaded, and Star Wars, Episode II: Attack of the Clones gets to shoot a screenplay by the Wachowski Brothers (Matrix Trilogy) as Lead Director for V for Vendetta and his experience pays off. The story opens with a prologue about Englishman Guy Fawks' attempt (as part of a larger plot) to blow up the English Parliament on November 5, 1605 to protest the increased severity of penal laws against Catholics. Fawks' plot was spoiled and he was hanged but not forgotten. (To this day, November 5th is celebrated in England with the burnings of effigies of the conspirator.) Then the film jumps to an England of the near future where the English government has become totalitarian after the United States brings chaos to the world via war and disease. (Maybe that's not really too far fetched.) Using fear of disease, terrorists and anything else the government can fabricate via a state run television station, this iron-fisted government uses Gestapo tactics to scare people into giving up their freedoms for a false sense of security. But one man (only known as "V" and played by Hugo Weaving) rises to lead the revolt, using the November 5th incident as his banner against tyranny. One of his first recruits is Evey (Natalie Portman), who learns of the masked-man's ideals after he saves her from an attempted rape by government agents. The two form a strange and uneasy friendship as V works at trying to convince the people (and Evey) to rise up against their oppressors. The film works well as long as the it sticks to the politics, which obviously mirrors events in today's world, but once the sci-fi plot weaves into the story, things get muddled. I remember experiments on humans in camps, along with torture and death that rivaled the Nazis, but I was never sure what it was that the government experiments were trying to accomplish. Our hero, V, is born from these experiments, but again, how or why is left a mystery. Still, in spite of that plot weakness, I found the political intrigue (supported by great acting from Stephen Rea, John Hurt, and a wonderful supporting cast) riveting and at times rather moving. Hugo Weaving's sharp wit actually projected personality from under his mask. I particularly enjoyed his arguments and feelings about getting revenge. Even Natalie Portman (in spite of all the panning she endured for the Star Wars films) showed that she can act—just watch her eyes. All in all, I was surprised by my positive reaction to V, expecting another shallow comic book plot (based on a graphic novel from DC Comics.) V for Vendetta will probably be leaving theaters soon, so if you miss it there, check for it on rental. I hope you'll be as surprised as I was. "Viva La Revolution!"
Vacancy
Budapest director, Nimrod Antal, directs his first all-English film with Vacancy, a story about a couple (Kate Beckinsale as Amy Fox and Luke Wilson as David Fox) contemplating divorce when their car breaks down on a lone stretch of highway. Of course, when the manager (Frank Whaley) of the local in-the-middle-of-nowhere motel tells them there won't be any mechanics available until morning, Amy and David decide to spend the night. The room is disgusting and creepy and when they play some video tapes left in the room, they quickly discover that all the other motel guests ended up starring in snuff films and now its their curtain call. The rest of the film is a cat-and-mouse game as the Fox couple try to outwit their tormentors and escape with their lives. The chemistry between Beckinsale and Wilson worked well, especially when they had to put aside their personal conflict and work together to survive. There was just enough tension to maintain this film for its full length. You did wonder how or if they would escape, and some surprise turns in the plot (some predictable, some not) kept me interested. In the end, Vacancy turned out to be an entertaining thriller worth renting on DVD if you missed it in theaters.
Valentine
This barely standard, slasher who-done-it had its moments.
Vampire Hunters (Direct to DVD/Video)
With few theater films to see this January '04, I perused my local video
store for some direct to rental DVD's and came upon Vampire Hunters,
(2002) written and produced by the prolific Hong Kong director (over 36
films), producer (over 47 films), and writer (over 30 films), Tsui Hark. Now
this sounded interesting. "It's 19th-century China and an evil monk awakens
a nest of ghoulish vampires hell-bent on devouring human life. Now, a
quartet of heroes, Lightning, Thunder, Rain and Wind, (whom my wife and I
ended up calling the Power Rangers) trained in the Taoist Mao Shan school
of magic must use their unique powers to destroy this Vampire King." It
seems the dead are rising from their graves to become zombies, but after
eating human flesh, they become vampires. Now there's a new twist! And this
film has it all: acrobatics more fantastic than "Crouching Tiger, Hidden
Dragon," martial arts sword fights more incredible than Kill Bill, and
monsters and campy humor that rival any Sam Raimi classic. The dialogue is
hysterical and while the plot actually becomes convoluted, it does all come
together in the end for one hell of a finale. For laughs (zombies that "hop"
rather than walk) and shivers (special effects that range from hysterical to
eye-popping), put this on your must rent list. It's too incredible to miss!
Van Helsing
Writer/director Stephen Sommers (1999's The Mummy, 2001's The Mummy Returns) gives Universal Studios' classic monsters an upgrade in this high-spirited
action/adventure. When Count Dracula (Richard Roxburgh, who is more Langella
than Lugosi) plans to animate his thousands of undead offspring using the
Frankenstein Monster's (Shuler Hensley) energy, a secret, politically
correct, organization in the bowels of the Vatican dispatches the infamous
monster hunter, Van Helsing (Hugh Jackson—X2's Wolverine), to save the
world. Aiding Van Helsing in his quest is Anna Valerious (Kate Beckinsale—Underworld), another monster hunter whose brother is a werewolf. Realizing this film came from the mind of Stephen Sommers, I knew what to expect and
wasn't disappointed. After a wonderful black-and-white opening that pays
homage to the classic Universal monster films, Van Helsing takes you on a
roller coaster ride through incredible sets, eye-popping special effects and
non-stop action. Just about every character handles the tongue-in-cheek with
style and individuality. The count is charming, Frankenstein's Monster is
sympathetic, and the Wolfman's transformation (every film tries to do it a
little different) is wonderfully horrific as he tears away his human skin.
Even Dracula's wives are a sight to behold as they change from beauties to
beasts and take to the air. My personal favorite was Igor (Kevin J. O'
onnor—The Mummy's Beni Gabor). After a scene in which Igor tortures
Frankenstein's Monster (Remember Universal's obnoxious hunchback?), the
Count asks him why? Igor's response? "It's what I do!" Expect a lot of these
little jabs at the black-and-white classics. So forget what you're hearing
from the mainstream critics. As readers of The Chiaroscuro, you should
enjoy this one. It's fun!
Vertical Limit
Tense editing and action combined with breath-taking scenery.
The Village
Edward Walker (William Hurt) and Alice Hunt (Sigourney Weaver) are but two of the Elders in rural, 1897 Covington, Pennsylvania, whose job is to protect the village from the creatures in the woods; woods that cut the village off from the surrounding towns where simple needs like medicine can be found. After the unnecessary death of a young villager, Lucius Hunt (Joaquin Phoenix) asks permission to visit a neighboring town to secure some needed medicine, but the elders forbid it. Ignoring their warnings, Lucius investigates the forbidden wood and apparently unleashes the creatures' wrath after years of peaceful coexistence. To promote this film, writer/director/producer M. Night Shyamalan agreed to give an interview as a documentary for the Sci-Fi Channel. As the promos declared, the interview went wrong and secrets were revealed, creating a documentary "you weren't supposed to see." Nice try, but when watching a documentary about the documentary, I noticed that M. Night Shyamalan produced the interview "we were not supposed to see." Shyamalan's charlatan tricks continued in the previews and commercials for "The Village," which, with skillful editing and sound bites like "do your best not to scream," promised scares and chills. Well, let me warn you, Shyamalan's "sleight of hand" style might have worked for The Sixth Sense (1999), but it doesn't work here. This is not a horror film and the set-ups and pay-offs, as they were, did little to thrill, chill or entertain, instead causing frustration and disappointment. In fact, the entire film was nothing but annoying with all but one Twilight Zone-like twist easy to see coming. As for the acting, while Hurt managed his role, Weaver seemed totally out of place. Adrien Brody (as the retarded Noah Percy) had my attention until his actual part in the plot was revealed as contrived. Only Joaquin Phoenix and Bryce Dallas Howard (as Ivy Walker) managed to grab and keep my attention in a disappointing and annoying film full of contrivances and unsatisfying misdirection. The only place I can praise Shyamalan is in the cinematography, which treated each scene as a work of art, filming as if painting. If you do decide to see The Village, remember I warned you, so "do your best not to scream" when you realize you were duped into seeing this piece of crap.
Virus
This film gets better every time I see it. A "classic" Donald Sutherland adds to the camp of this "Terminator" meets "Aliens" high energy Sci-Fi. Great rental!
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