‘V for Vendetta’
From the creators of the matrix movies, ‘V for Vendetta’ is an adaptation of Alan Moore’s revered graphic novel, first published as a single volume in 1988. Set against the futuristic backdrop of a totalitarian Britain, ‘V for Vendetta’ tells the story of a mysterious vigilante, known only as ‘V’ (Hugo Weaving), and the relationship between him and his new-found apprentice, Evey Hammond (Natalie Portman).

A fascist single-party state has risen to power, controlling the country through controlled media, secret police, and imprisonment without trial for racial, political, and sexual minorities. Dressed as Guy Fawkes, ‘V’ embarks on a violent, yet theatrical, campaign to rally support for his cause, and bring down the government.

Much has been made of the political allegory presented in the movie, and certain elements have been added or updated, such as the mention of the Koran, references to Iraq, and dealing with a repressive government which exploits its people’s fear of terrorism and brainwashes them with sanitized ‘news’ broadcasts.

The emphasis on technology, especially CCTV, recalls the 2001 US ‘Patriot Act’, which grants government authority to intercept “wire, oral, and electronic communications”. Interesting as these parallels may be, the movie must be able to hold its own as a piece of dramatic entertainment, and while mostly successful, some sloppy pacing in the third act, and occasional bouts of wooden dialogue hinder proceedings ever so slightly.

The performances, however, are wonderful across the board. The successful big screen representation of the character ‘V’ is crucial. The movie’s authenticity rests on this character, and this daunting task was met with ease through Weaving’s remarkable performance.
Never unmasked, ‘V’ is presented through Weaving’s physicality and voice alone. Portman’s Evey, while occasionally falling into the Dick Van Dyke-atrocious-cockney-accent trap, is a suitably emotional presence, effectively playing off of Weaving’s cold, calculated ‘V’.

Support comes in the form of Stephen Rea, Stephen Fry, and the brilliant John Hurt. The movie also contains some beautifully filmed action sequences, however few and far between they may be. ‘V for Vendetta’ is highly recommended viewing.
4 out of 5

‘Hostel’
Two American backpackers and their Icelandic friend take a trip to Amsterdam, where they learn of a Slovak hostel offering the world’s most beautiful women for prostitution, at very little cost, and with a preference for Americans.

When the trio arrive, however, all is not as it seems and one by one, they go missing. As horror concepts go, it’s not incredibly original, but it is in the execution (pardon the pun) that ‘Hostel’ really shines.

‘Cabin Fever’ director, Eli Roth, has made an intensely gory second attempt to inject some life into the dying genre of the creative horror movie. While surpassing his first effort in every way, ‘Hostel’ isn’t perfect.

A slowly progressing first act may throw off some audiences, as the diverting tone implies almost an ‘American Pie’ type of teen sex comedy lies ahead (albeit slightly more graphic).

Once they reach the deceptively beautiful Slovak location, however, the pace quickens, as we painfully discover what lies ahead for the trio. Casting unknowns and utilising its micro-budget to astonishing effect, Roth has delivered a movie which lures you into a false sense of security before unleashing some of the goriest scenes seen on screen since ‘Audition’.

Hidden among the decapitated body parts, are themes of isolation, ignorance, and the perception of American insularity by most Europeans. Hostel successfully combines both brains and guts.
4 out of 5