Library

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby Digital 5.1

Comments: Remember, remember the 5th of November, the gun powder treason and plot. I know of no reason why the gun powder treason should ever be forgot.

Summary: "Remember, remember the fifth of November," for on this day, in 2020, the minds of the masses shall be set free. So says code-name V (Hugo Weaving), a man on a mission to shake society out of its blank complacent stares in the film V for Vendetta. His tactics, however, are a bit revolutionary, to say the least. The world in which V lives is very similar to Orwell's totalitarian dystopia in 1984: after years of various wars, England is now under "big brother" Chancellor Adam Sutler (played by John Hurt, who played Winston Smith in the movie 1984), whose party uses force and fear to run the nation. After they gained power, minorities and political dissenters were rounded up and removed; artistic and unacceptable religious works were confiscated. Cameras and microphones are littered throughout the land, and the people are perpetually sedated through the governmentally controlled media. Taking inspiration from Guy Fawkes, the 17th century co-conspirator of a failed attempt to blow up Parliament on November 5, 1605, V dons a Fawkes mask and costume and sets off to wake the masses by destroying the symbols of their oppressors, literally and figuratively. At the beginning of his vendetta, V rescues Evey (Natalie Portman) from a group of police officers and has her live with him in his underworld lair. It is through their relationship where we learn how V became V, the extremities of the party's corruption, the problems of an oppressive government, V's revenge plot, and his philosophy on how to induce change.
Based on the popular graphic novel by Alan Moore, V for Vendetta's screenplay was written by the Wachowski brothers (of The Matrix fame) and directed by their protégé, James McTeigue. Controversy and criticism followed the film since its inception, from the hyper-stylized use of anarchistic terrorism to overthrow a corrupt government and the blatant jabs at the current U.S. political arena, to graphic novel fans complaining about the reconstruction of Alan Moore's original vision (Moore himself has dismissed the film). Many are valid critiques and opinions, but there's no hiding the message the film is trying to express: Radical and drastic events often need to occur in order to shake people out of their state of indifference in order to bring about real change. Unfortunately, the movie only offers a means with no ends, and those looking for answers may find the film stylish, but a bit empty. "--Rob Bracco "

Languages: English, French, Spanish, Portuguese

Subtitles: Cantonese, English, French, Korean, Spanish

Sound: AC-3

Summary: "Vantage Point", which aspires to be a cunningly twisted thriller, comes equipped with plenty of hurtling action, handheld camerawork, what-was-that? editing, and a plot that has multiple, contradictory agendas writhing like a nest of snakes. It's all set a-boil within a few blocks of a town square in Spain where a U.S. President is targeted for assassination. Although the movie lasts 90 minutes, the events it depicts are mostly over with in a quarter-hour or so--but seen, rewound, and reseen from half a dozen different (you guessed it) vantage points. The first line in the credits reads "Original Film," apparently the name of the production company. "Gimmick Movie" would be more accurate; the opening reel, effectively jolting, affords an initial overview of the events through the eyes, lenses, monitors, and dueling sensibilities of a TV news producer (Sigourney Weaver), her activist-minded reporter (Zoe Saldana) and crew. Everybody’s in Salamanca (actually, Mexico City) for the start of an international conference to reaffirm Arab-Western commitment to the fight against terrorism. Terrorism, of course, sees this as an ideal moment to break out. As gunshots and explosions reduce everything to chaos, the clock is reset to zero and we proceed to revisit the scene as experienced by several Secret Service agents (namely Dennis Quaid and Matthew Fox), an American tourist with camcorder (Forest Whitaker), sundry locals--including three who may be caught up in a love triangle or a conspiracy or both--and even the President himself (William Hurt).

For a while, this is mildly diverting: that guy, or that gesture, so sinister when glimpsed across the plaza in one run-through, now appears harmless in close-up--or vice versa. But there's no real ambiguity (so stop with the careless comparisons to Kurosawa's "Rashomon")--this is a shell game in which the peas aren't worth tracking. Despite decent actors, the characters might as well be holograms (although poor Forest Whitaker is saddled with "motivation" of surpassing sappiness), and the casting telegraphs several twists: one redoubtable good guy practically gives a wink-wink, nudge-nudge that he's really bad, etc. The movie declines to specify which nutjob philosophy the terrorists espouse, and their numbers are multi-ethnic. There's also a laborious suggestion that they have bloodthirsty, reactionary counterparts among the President's inner circle, which perhaps qualifies as redeeming socio-political comment and prompts a meaningless declaration of deep meaning from the Prez. The whole megilleh finally comes down to an extended car chase through impassably claustrophobic streets that would mark a lurch into unintentional self-parody--if only that point hadn't been passed a couple of rewinds earlier. "--Richard T. Jameson"


Stills from "Vantage Point" (click for larger image)