Love & Friendship

Based on the novella Lady Susan by Jane Austen, Love & Friendship is the story of a scandalized widow who seeks refuge at the home of her brother-in-law where she hopes to find a husband for herself and her daughter. Written for the screen and directed by Whit Stillman, the film is a period drama set in the late 18th Century where it plays into a woman is trying to redeem her name and provide a future for her daughter. Starring Kate Beckinsale, Xavier Samuel, Emma Greenwell, Morfydd Clark, Jemma Redgrave, Tom Bennett, Justin Edwards, Jenn Murray, Stephen Fry, and Chloe Sevigny. Love & Friendship is a witty and delightful film from Whit Stillman.

Set in 1790 Britain, the film revolves a recently-widowed woman whose scandalous past has come back to haunt her as she moves in with her brother-in-law where she falls for her sister-in-law’s brother. When her daughter has been kicked out of school, complications emerges when she falls for the same man her mother is courting while evading the affections of a dim-witted suitor. It’s a film that isn’t just about some of the complications of love but also a woman’s attempt to maintain her social status despite her illustrious past as a flirt where she’s not even allowed to talk to one of her best friends publicly as they would talk privately or correspond secretly through letters.

Whit Stillman’s screenplay isn’t just an exploration of social climbing, reputation, and survival but also a woman trying to ensure her daughter’s security despite their own personality differences. Yet, Lady Susan Vernon (Kate Beckinsale) is a woman that has become accustomed to a lifestyle and wants to keep it no matter what it takes. Sure, Lady Vernon is manipulative and is willing to scheme but it is all about the nature of the game she has to play to survive despite the notoriety she’s attained in the past as she is a bit indifferent of what people think of her. Still, she has to think about her teenage daughter Frederica (Morfydd Clark) who is asked to marry this young buffoon in Sir James Martin (Tom Bennett). Upon meeting her sister-in-law’s brother Reginald DeCourcy (Xavier Samuel), Lady Vernon sees him as a prospective husband but things complicated when Federica falls for him as well.

It’s not just in the plot scenarios and schematics where Stillman explores what Lady Vernon is doing but it is also in the dialogue. Stillman’s dialogue is very stylized in not just playing to the times but also in the rhythm and tone that is true to writings of Jane Austen. It has a language that is unique but also a feel that manages to play off into much of the humor. Even in some the dramatic moments as it play into the anguish in Frederica as well as some of the conversations Lady Vernon has with her American friend Alicia Johnson (Chloe Sevigny) who understands her friend’s plight. While she doesn’t agree with Lady Vernon’s tactics, she does understand the need to survive as she is married to a prestigious businessman in Mr. Johnson (Stephen Fry). Yet, if he finds out that his wife is talking to Lady Vernon. He will take her back to America where she is seen as a traitor for supporting the British during the American Revolution as it’s one of these tidbits in the script that makes it so fun to follow.

Stillman’s direction definitely owes a lot to style in not just the way it plays into costume period dramas but give it a sense of irreverent humor. From the way the characters are introduced to how elements of poetry and letters are being read with text presented on screen. Shot entirely on location in Ireland, the film does play into the look of the period with its usage of wide and medium shots to capture the location while the latter would also provide a sense of intimacy in the dramatic elements along with its usage of close-ups. Much of the composition relies more on a sense of control with its steadicams to follow the actors walking into a room or at a court inside the house. It all plays into this world where it is about behaviors and prestige where Stillman says a lot of what is going on in that world where everyone of importance has to present themselves in a certain way. At home, they can be themselves no matter how bad they are.

There is no question that Lady Vernon is a despicable character but she isn’t totally un-likeable as Stillman wants to maintain that sense of what she is doing. Especially as it relates to his own fascination of the upper-class world and what people are willing to do to maintain a lifestyle that not many people are accustomed to. Stillman doesn’t try to over-dramatize things with the exception of one key character who is presented as a form of humor. It is all about the role that women played in society and what they had to do to survive in an upper-class world. Even as they have to contend with morals and the rules where this one woman does what she have to do while not being afraid to break a few rules in the process. Overall, Stillman creates an engaging and exhilarating comedy about a woman’s search to find husbands for herself and her daughter through devious means.

Cinematographer Richard Van Oosterhout does excellent work with the film‘s cinematography from the differing look of the exteriors to play into a mood for the film as well as some of the interiors with its low-key approach to lighting as well as how the sun is placed against the windows. Editor Sophie Corra does terrific work with the editing as it largely straightforward to play into some of its humor through its rhythmic cuts as well as for some of the dramatic moments. Production designer Anna Rackard, with art directors Louise Mathews and Bryan Tormey and set decorator/carpenter Stuart Crinnion, does brilliant work with the look of the many interiors in the homes and estates that the characters live in as well as the apartment that Lady Vernon would live in London for the film‘s second half. Costume designer Eimer Ni Mhaoldomhnaigh does amazing work with the costumes from the lavish look of the dresses the women wear including the hats as well as the clothes that the men wore in those times.

Hair designers Eileen Buggy and Rod Ortega, with makeup designer Margot Boccia, do fantastic work with the design of the hairstyle of the women with the latter doing the work for the look of Lady Vernon. Visual effects supervisors Danielle Kempen and Hans van Helden do nice work with the minimal visual effects where it is really bits of set dressing as well as displaying the text that is read by characters onscreen. Sound editor Ranko Paukovic does superb work with the sound with way some of the action is heard in another room along with the lively moments in a party scene where Sir James is dancing like an idiot. The film’s music consists largely from traditional and classical pieces from the period of the time as well as variations of original music by Benjamin Esdraffo and Mark Suozzo with the latter doing much of the music supervision in selecting various classical and operatic pieces that are played in the film.

The casting by Kerry Barden, Colin Jones, and Paul Schnee is phenomenal for the large ensemble that it displays as it include some notable small roles from Kelly Cross as Lady Vernon’s traveling companion Mrs. Cross in the film’s first act, Conor Lambert as the DeCourcy family butler, Sylvie Benoiton and Daniel Magee as the children of Charles and Catherine Vernon, Lochlann O’Mearain as Lord Manwaring, Sophie Radermacher as Lord Manwaring’s young daughter, and Justin Edwards as Lady Vernon’s brother-in-law Charles Vernon who offers her a temporary place to stay as well as deal with several family issues. Stephen Fry is superb in his small role as Mr. Johnson as Alicia’s husband who disproves her friendship with Lady Vernon while attending to the emotional needs of Lady Manwaring in a very comical manner. Jenn Murray is wonderful as Lady Lucy Manwaring as this emotional drama queen who hates Lady Vernon as she accuses her of seeing her husband.

James Fleet and Jemma Redgrave are excellent in their respective roles as Sir Reginald and Lady DeCourcy as Catherine and Reginald’s parents who are concerned with Lady Vernon’s presence while taking in Frederica whom they cherish. Chloe Sevigny is fantastic as Alicia Johnson as an American exile who is Lady Vernon’s best friend as she helps her despite being told by her husband not to as Sevigny displays a lot of charm and flair to her character. Emma Greenwell is amazing as Catherine DeCourcy Vernon as Charles’ wife who also takes in Lady Vernon as well as taking a liking towards Frederica while admitting to having her own qualms about Lady Vernon. Morfydd Clark is brilliant as Lady Vernon’s daughter Frederica as this shy and troubled young girl who has gotten kicked out of school as well as not wanting to get married where Clark displays an anguish as well as an innocence to this young woman who finds herself falling in love.

Tom Bennett is hilarious as Sir James Martin as a young man who wants to marry Frederica as he is just this loveable buffoon who says very idiotic things while believing there’s twelve commandments instead of ten as he is just fun to watch. Xavier Samuel is remarkable as Reginald DeCourcy as this young man who becomes attracted to Lady Vernon as he finds her interesting while also becoming drawn by Frederica. Finally, there’s Kate Beckinsale in an incredible performance as Lady Susan Vernon as she exudes charm and wit into her character while not being afraid of being despicable but in a loveable way as Beckinsale just gives the performance of her career.

Love & Friendship is a sensational film from Whit Stillman that features a delightful performance from Kate Beckinsale. Featuring a great supporting cast, lovely visuals, gorgeous costumes, and a fantastic score. It’s a film that explores the world of Jane Austen with a sense of irreverent humor and a study of social climbing as well as what women had to do to survive in a world where there’s a lot of expectations in the upper class. In the end, Love & Friendship is a tremendously rich film from Whit Stillman.

Whit Stillman Films: Metropolitan - Barcelona - The Last Days of Disco - Damsels in Distress - The Auteurs #21: Whit Stillman

© thevoid99 2016

A Fish Called Wanda

Directed by Charles Crichton and John Cleese and screenplay by Cleese from a story by Crichton and Cleese, A Fish Called Wanda is the story of a diamond heist crew who try to double-cross each other as they try to find the lost diamonds while getting a captured criminal’s barrister involved. It’s a film that plays into a world where a bunch of people are motivated by greed as a lot of hilarity ensues as it involves involving two American criminals doing their heist in London. Starring John Cleese, Jamie Lee Curtis, Kevin Kline, Tom Georgeson, Maria Aitken, Cynthia Cleese, Patricia Hayes, and Michael Palin. A Fish Called Wanda is an absolutely ripping and enthralling film from Charles Crichton and John Cleese.

After a diamond heist involving two Britons and two Americans that succeeded only for its aftermath to go wrong where the diamonds are lost and one of its lead criminal figures gets arrested. The American con-artist and her weapons-man boyfriend try to find the diamonds as the former tries to seduce a barrister into getting information only to fall for him. It’s a film that plays into the world of greed as many characters all try to double-cross each other to get the diamonds and run away to South America with the loot as a lot of mayhem and hi-jinks ensue. Yet, it’s really more about a group of individuals who all seek a better life or some kind of hefty payment as two of them are these Americans in Wanda (Jamie Lee Curtis) and her boyfriend Otto (Kevin Kline) as the latter is a loud-mouthed man who hates the British and thinks of himself as an intellectual.

Among the crew they’re with is the gangster George Thomason (Tom Georgeson) who would be arrested for the heist as he awaits trial and his right-hand man in an animal lover named Ken (Michael Palin) who has a bad stutter. John Cleese’s screenplay plays into many events that unfold where Wanda would try and seduce George’s barrister Archie (John Cleese) as she would eventually make Otto very jealous as he would confront Archie in very troubling ways. Yet, Archie falls for Wanda as he sees her as a chance to escape the unhappy life he has with a wife (Maria Aitken) who treats him like shit and a spoiled daughter (Cynthia Cleese) as he would eventually go on board to try and find the diamonds. One notable subplot that is integral to the story involves Ken’s attempt to kill an old lady (Patricia Hayes) who is a witness to George’s case where it plays into elements of black comedy. It adds to the film’s offbeat humor that includes some very funny dialogue and one-liners which often involve Otto’s hatred towards the British as he would always yell “asshole” towards a driver in his way.

The film’s direction by Charles Crichton, with Cleese serving as an un-credited co-director, is quite simple in terms of compositions and such. Notably in the way Crichton and Cleese would set up some of the comedy as they would shoot the film entirely on location in London as well as parts of Heathrow Airport. The film’s heist sequence that happens early is quite engaging for some of the angles that Crichton would create along with key shots that would play into the story. Critchton’s approach to dark humor that involves Ken’s attempt to kill an elderly witness has this strange mix of cruelty and hilarity as it relates to Ken’s love for animals and what he was trying to do. Other scenes involve Otto’s love to say things in Italian and Russian to turn Wanda on which is inter-cut with the life of Archie and how drab it is. The humor also has elements that are quite cartoonish as well as offbeat moments such as a scene where Archie meets Ken in the third act as Archie waits for Ken to give him some answers. Its climax at Heathrow wouldn’t just contain some of the funniest moments in the film but would also become one of its most adventurous. Overall, Crichton and Cleese create a very thrilling and hilarious film about a group of thieves trying to get back some diamonds.

Cinematographer Alan Hume does excellent work with the cinematography as it‘s quite straightforward for many of its daytime scenes along with some nice lighting for some of the scenes set at night. Editor John Jympson does amazing work with the editing as it‘s very straightforward with some rhythmic cuts for the heist scene and the film‘s climax at Heathrow. Production designer Roger Murray-Leach, with set decorator Stephenie McMillan and art director John Wood, does fantastic work with the look of the loft that Ken lives in as well as Archie‘s posh home and the place he and Wanda would go into for sex until a family comes in.

Costume designer Hazel Pethig does nice work with the costumes from the stylish clothes that Wanda wears to the more casual look of the men. Sound editor Jonathan Bates does terrific work with the sound from the way Otto screams “asshole“ in a few scenes to some of the comedic moments that occur in the film. The film’s music by John du Prez is brilliant for its score as it ranges from orchestral to very playful pieces as it adds some spark to the film’s humor and some string-based pieces into Otto’s antics.

The casting by Priscilla John is wonderful as it features some notable small appearances from Stephen Fry as a Briton Otto meets at the airport, Geoffrey Palmer as the trial judge, Cynthia Cleese as Archie’s spoiled daughter Portia, and Patricia Hayes as the old lady with the three Yorkshire Terriers who saw George during his escape. Maria Aitken is terrific as Archie’s very un-loving and pretentious wife who is more concerned with her riches rather than her marriage. Tom Georgeson is excellent as George as a gangster who leads the heist as he would be arrested as he hopes that Archie would get him out. Michael Palin is brilliant as Ken as an animal-loving man with a stutter who bungles his way to get rid of a key witness as Palin brings a lot of humor including some scenes where he is eyed by Otto as if he was gay or the scene involving some chips.

Kevin Kline is incredible as Otto as an Anglophobe man who hates being called stupid as Kline manages to steal the show with such energy and charm as he continuously brings in a lot of laughs from the things he says to some of the things he does in the film. Jamie Lee Curtis is fantastic as Wanda as a con artist who is eager to get the diamonds and double-cross Otto so she can escape from his clutches but finds herself falling for Archie when she’s supposed to seduce him as Curtis brings a lot of spark to the role. Finally, there’s John Cleese in a remarkable performance as Archie as a barrister who is roped into the scheme as he falls for Wanda while dealing with Otto and his own family life where Cleese brings a low-key approach to the humor as well as a very funny exchange against Kline in the film’s climax.

A Fish Called Wanda is a phenomenal film from Charles Crichton and John Cleese that features great performances from Cleese, Jamie Lee Curtis, Kevin Kline, and Michael Palin. The film is truly one of the finest comedies ever created as it plays into the world of heist films as well as taking shots at the idea of intellectualism and American superiority. Even as it’s not afraid to be very silly as well as engage itself into very dark humor. In the end, A Fish Called Wanda is a magnificent film from Charles Crichton and John Cleese.

© thevoid99 2015

The Look of Love

Directed by Michael Winterbottom and written by Matt Greenhalgh, The Look of Love is the story about British pornographer and real estate entrepreneur Paul Raymond as he brings the world of sex and strip clubs to London’s Soho section where he gains notoriety and such in his tumultuous life. Winterbottom collaborator Steve Coogan plays the role of Raymond as it explores the man’s rise and fall where he would endure lots of highs and some incredible lows. Also starring Anna Friel, Imogen Poots, and Tamsin Egerton. The Look of Love is a pretty good though messy film from Michael Winterbottom.

Paul Raymond was famous for bringing sex into the Soho section of London as he created the softcore porn magazine Men Only and staged lavish shows with naked women as the center of attraction. Yet, the film is about Raymond’s rise to notoriety where he is attacked left and right from all sorts of people for his exploitation of women. Still, Raymond is a man who wants to have fun but also struggled with keeping up with the times and trying to help his daughter Debbie (Imogen Poots) to gain a career despite her lack of talent as she would tragically die of a heroin overdose in November of 1992. The film is largely told from Raymond’s perspective as he looks back on his life just after the death of his daughter as the film is told from the late 1950s to Debbie’s death.

Matt Greenhalgh’s screenplay does have a narrative that is straightforward though it is very messy at times while it tries to be both a comedy and a drama where it ends up being uneven. There’s also some stuff that relates to the illegitimate son that Paul had many years ago that his siblings didn’t know about as it’s only shown in one scene but it’s a scene that feels very awkward with the rest of the narrative. Still, Greenhalgh does create some unique characters in not just Paul and Debbie Raymond but also the two wives that Paul married as the first in Jean (Anna Friel) and the second in a young dancer/model in Fiona Richmond (Tamsin Egerton). Jean was this woman that supported Paul from the late 1950s to the early 1970s where she left him following his affair with Fiona.

The film’s strongest point for much of the second half is Paul’s relationship with his daughter as he wanted to support her in every way where they party together and also do drugs together. While Paul does drugs for fun where his affairs with other women would drive Fiona out of the way. Debbie’s drug use becomes something bigger as she did it to numb the pain over her lack of progress to make it as her father would be the only other thing to comfort her. Even as Paul would lay his hopes on Debbie to take over his empire unaware of the tragedy that is to come.

Michael Winterbottom’s direction is pretty stylish in the way he presents the film from the 1950s to the early 1990s where much of the film’s 1950s sequence is presented in black-and-white to showcase the air of sophistication in the film. Notably as the nudity is presented with a sense of class and nothing really overt while some of the direction is still intimate with hand-held cameras and such to play into that craziness. Even as the film returns to color in much more lavish ways for the scenes set in the 1960s and 1970s where it was a time of hedonism as the nudity itself becomes outrageous. Winterbottom does find time to give the audience a break from the decadence of the film while infusing it with some style in some montages on the way Men Only is created and re-invented as the years go by along with some of the stage shows that Raymond would present in his career.

Things do slow down for the film’s third act as it concerns Paul and Debbie’s relationship where much of the camera work is straightforward with bits of style as the scenes in the late 80s and early 90s rely less on visuals and more about the story. Even as it plays into the tragedy that is evident in the first scene of the film as Paul watches an interview that Debbie did for TV as it prompts him to look back at his entire life. Despite some of issues with the script, Michael Winterbottom crafts a very compelling film about the life of Paul Raymond.

Cinematographer Hubert Taczanowski does excellent work with the film‘s cinematography from the black-and-white look of the scenes set in the 1950s to the lavish colors and vibrant lights for the scenes set in the 1960s and beyond. Editor Mags Arnold does brilliant work with the film‘s editing with its approach to montages and arrays of stylish cuts to play into that world of hedonism. Production designer Jacqueline Abrahams and art director Carly Reddin do fantastic work with the set pieces from the loft that Paul lives in to the clubs and such that he runs in Soho. Costume designer Stephanie Collie does fabulous work with array of costumes that were displayed on film from the hot-pants that Fiona wore to the dresses that Jean wore as well as the clothes that Debbie wore in the film.

The hair and makeup design work of Fiona Leech and Laura Schiavo is amazing for the array of looks that were created in the film to play with the craziness of the times. Visual effects supervisor Marc Knapton does nice work with the minimal visual effects for the set dressing of London in those times as well as the roof of Raymond‘s loft. Sound editor Joakim Sundstrom does terrific work with the sound to play into the sound effects that occurs on stage as well as some of the craziness in some of the film‘s locations. The film’s music by Antony Genn and Martin Slattery is superb as it’s mostly a mixture of playful jazz music with some orchestral pieces to play into some of the drama while music supervisor John Coyne brings in a fun soundtrack that plays with those times from the music of the 60s and 70s that includes pieces by David Bowie, T. Rex, Hot Chocolate, and other acts.

The casting by Jina Jay is wonderful for the ensemble that is created as it features some cameo appearances from such Winterbottom regulars as Keiran O’Brien and Shirley Henderson as a couple of friends of Raymond from the 50s/60s, Mark Williams as a Follies stage director, David Walliams as the outgoing Vicar Edwyn Young, Stephen Fry as a barrister, Matt Lucas as the famed drag actor Divine, and Liam Boyle as Paul’s illegitimate long-lost son Derry. Other notable small roles include Matthew Beard as Paul’s son Howard, James Lance as Paul’s lawyer Carl Snitcher, and Chris Addison as Men Only editor/photography Tony Power who would introduce Debbie to cocaine. Tamsin Egerton is excellent as Fiona Richmond as an aspiring model who would become Paul’s muse in the late 60s/early 70s as well as a controversial columnist who later leaves Paul after too much partying.

Anna Friel is fantastic as Paul’s first wife Jean as a woman who had been supportive of his ventures only to leave him after his affair with Fiona as she later returns to him when Debbie gets married as she would be involved in a lavish nude spread for his magazine. Imogen Poots is remarkable as Paul’s daughter Debbie as a young woman eager to make it as a singer/actress only to succumb to addiction as she clings to her father where Poots is really the star of the film. Finally, there’s Steve Coogan in a marvelous performance as Paul Raymond as the man who would bring sex to London as someone that wants to give people a good time while he loses himself in his hedonism while becoming troubled by the losses he suffers where Coogan proves to be strong as a dramatic actor while still being very funny.

The Look of Love is a very good film from Michael Winterbottom that is highlighted by the performances of Steve Coogan and Imogen Poots. While it’s a flawed film that has issues with the tone of the screenplay. It is still an engaging film for the way it explores the life of Paul Raymond and how he brought sex to London in the late 1950s making him one of Britain’s richest men. In the end, The Look of Love is a stellar film from Michael Winterbottom.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (The Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You) - Wonderland (1999 film) - The Claim - 24 Hour Party People - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - A Mighty Heart - Genova - The Shock Doctrine - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - (The Trip to Italy) - (The Face of An Angel)

© thevoid99 2014

Gosford Park

Originally Written and Posted at Epinions.com on 3/30/07 w/ Additional Edits & Revisions.

Based on an original idea from Robert Altman and Bob Balaban, Gosford Park is a murder mystery set in the British countryside in the course of a weekend involving a group of wealthy people and their servants as a conflict emerges between the two parties. Directed by Robert Altman and screenplay by Julian Fellowes, the film is a take on the whodunit mystery as it's set in the 1930s that is a mixture of comedy, drama, and suspense. With an all-star cast that includes Maggie Smith, Helen Mirren, Michael Gambon, Stephen Fry, Kelly MacDonald, Jeremy Northam, Kristin Scott Thomas, Bob Balaban, Ryan Phillippe, Alan Bates, Richard E. Grant, Camila Rutherford, Emily Watson, Eileen Atkins, Clive Owen, Tom Hollander, Charles Dance, Derek Jacobi, and Geraldine Somerville. Gosford Park is a witty yet delightful whodunit from the brilliant Robert Altman.

A weekend gathering at the British gathering is happening as a group of rich socialites and many others arrive at the home of Sir William McCordle (Michael Gambon) and Lady Sylvia (Kristin Scott Thomas). Among those arriving are the Countess of Trentham (Maggie Smith) with her maid Mary MacEachern (Kelly Macdonald), Lord and Lady Stockbridge (Charles Dance and Geraldine Sommerville) with their servant Robert Parks (Clive Owen), Freddie and Mabel Nesbitt (James Wilby and Claudie Blakely), Lt. Commander Anthony and Lady Lavinia Meredith (Tom Hollander and Natasha Wightman), Ivor Novello (Jeremy Northam), and American producer Morris Weissman (Bob Balaban) with his servant Henry Denton (Ryan Phillippe). The servants are accompanied by the head butler Jennings (Alan Bates) along with housekeeper Mrs. Wilson (Helen Mirren), head maid Elsie (Emily Watson), jewels security chief George (Richard E. Grant), and the chef Mrs. Croft (Eileen Atkins). Immediately, conversations occur throughout the house as Denton tells Wilson and Croft that his boss is a vegetarian as he observes the place much to the annoyance of his fellow maids and servants. Meanwhile at the house, a lot is happening where the Nesbitts are having marital issues where Freddie seeks to have an affair with Sir McCordle's daughter Isobel (Camilla Rutherford) and Lt. Commander Meredith is seeking to have a business deal with Sir McCordle.

While dinner is happening both up and downstairs, Denton continues to ask questions to the maids and servants where Parks reveals himself to be an orphan where a couple of late arrivals happen in Lord Rupert Standish (Laurence Fox) and his friend Jeremy Blond (Trent Ford). Mary does some last minute work as she tries to figure out how to work in a big house without bothering anyone. On the next day during pheasants hunting with Sir McCordle, things don't go well during the hunt while Anthony Meredith and Freddie Nesbitt are both eager to talk to him. Instead, things don't go well as everyone starts to get testy with one another leading to a tense dinner where a comment by Lady Sylvia has Elsie finally speaking out in defense of Sir McCordle. Elsie leaves due to her behavior as Ivor Novello decides to change the mood by entertaining the guests while Weissman is waiting for a phone call. Later that night, Lady Stockbridge makes a shocking discovery where Inspector Thomas (Stephen Fry) and Constable Dexter (Ron Webster arrive to the house to investigate. With Thompson amazed by the home, he talks to all of the servants including Probert (Derek Jacobi) as well as the guest about their connections to McCordle.

Still, revelations are unveiled into why Henry Denton had been so snoopy as many of the guests and servants who killed McCordle and why. Mary makes a discovery about Parks in relation to McCordle as does Dexter. Once the investigation winds down, Mary receives a final lesson from Mrs. Wilson about servitude.

While the movie is a classic whodunit where everyone is a suspect, Robert Altman takes the genre off its feet and makes it into something where it becomes more about the people behind the homes and how they run the place. Yet, it's not surprising that the servants, butlers, cooks, and valets are far more interesting than the people above the basements who spend their time talking about things common people can't relate to. That doesn't mean the posh aren't uninteresting, there's moments when they can be interesting. Yet, they are out of touch somewhat with the real world when Weissman talks about a movie he plans to make yet, most of the people he is surrounded by aren't interested or intend to watch his films. Really, the film is about a murder and how people react to it while living their own idea of life.

Screenwriter Julian Fellowes does an amazing job in taking the structure of making the story feel like a theatrical play of sorts. There's the first act where the story introduces the characters, the second act about the murder and the investigation, and the third is the aftermath. It's all told in a simple way while it's all helmed by the brilliance of Robert Altman. Taking an almost, entirely British cast whom all seem to have some kind of theater background. The film does feel like a theater play where all the actors have their place and their own take on the character.

Yet, Altman deconstructs all of that to the point where the actors feel a bit loose, improvise, and enjoy themselves. Including a very comedic scene where Maggie Smith is seen laughing as if she's having a hell of a time. The camera rarely stands still as it's constantly moving to observe a conversation, a moment where people are having fun or something else. It's all part of the Altman style of improvisation, overlapping dialogue, and something that feels natural for the audience to relate to. Yet, it still works to the point where though at times, it's hard to follow, it's a lot of fun to watch.

Cinematographer Andrew Dunn does great work in capturing the atmosphere and difference of the two cultures with very dark, intimate lighting schemes on the basements to more showy lights on the upstairs part. Production designer Stephen Altman and art director Sarah Hauldren do amazing work in playing to the film's authenticity of 1930s cars, objects, and such with costume designer Jenny Beavan creating wonderfully lavish clothing for the upper class people.

Editor Tim Squyres adds to the film's energetic, improvisational style with some wonderful cutting and tension to build the momentum for the suspense. Sound editor Nigel Mills also adds to the film's atmosphere with a great sequence where Ivor Novello sings and how the people downstairs react to his music playing in the background. The music of Novello is heard as is a wonderfully melodic, suspenseful score from Patrick Doyle whose piano flourishes and orchestral arrangements adds to the film's unique energy.

Then there's the film's amazing cast in which, there isn't a single bad performance. To the smallest of performances to the most well-known cast member. Yet, it's a bit hard at times to remember everyone involved. Small performances from Trent Ford, Laurence Fox, Teresa Churcher as cook Bertha, Jeremy Swift as the gay butler Arthur, and Ron Webster as Constable Dexter are memorable. Sophie Thompson is great as the ever-loyal Dorothy who seems willing to do anything for Mr. Jennings. Charles Dance and Geraldine are wonderful as Stockbridges with Clive Owen giving a fantastic role as the shady Robert Parks.

Derek Jacobi is wonderful as Mr. McCordle's personal butler with Richard E. Grant as the snotty George. Ryan Phillippe is very good as the shady Henry Denton who gets more than he bargains for when he plays both sides only to be humiliated in front of both. Bob Balaban is excellent as the consumed American producer Weissman who carries his own secret that only Denton knows. Jeremy Northam is wonderful as the entertaining Ivor Novello.

Maggie Smith is wonderfully funny as the spoiled Constance who enjoys her own lifestyle though not fully aware of the real world. Tom Hollander is good as the desperate businessman Meredith with James Wilby as another desperate man in Freddie Nesbitt. Natasha Wightman and Claudie Blakley are excellent as their respective wives to portray the contrast of their own love life with Blakley being more dramatic. Stephen Fry is charming as the inept, distracted Inspector Thompson, who never gets to say his name entirely while Emily Watson is amazing as the Cockney-accent Elsie whose experience and care for McCordle makes her a very complex character. Camila Rutherford is excellent as the suffering Isobel who is often pursued by Freddie with Kristin-Scott Thomas as her mother Sylvia, who is a divine as the bitchy, bored wife of McCordle.

Sir Michael Gambon is excellent as this awful yet mean man who has become more distracted by money and riches as he opposes all sorts of old businesses and such. Eileen Atkins and Helen Mirren are great as feuding members of the staff who don't like each other with Mirren giving an amazing performance as the perfect servant, Mrs. Wilson. The late Alan Bates is great as the head butler Mr. Jennings who have his own secrets while managing the house while Kelly MacDonald is great as the naive yet observant Mary MacEachern who learns what it takes to be a great servant.

Gosford Park is an incredible film from Robert Altman that features an amazing ensemble cast. The film is definitely among of Altman's great films for its take on the whodunit mysteries as well as utilizing his mastery of finding life in an ensemble piece. Notably as it explores the world of class and servitude and the roles that these people play in this way of life. In the end, Gosford Park is an extraordinarily rich film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - M.A.S.H. - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

Tristram Shandy: A Cock & Bull Story

Originally Written and Posted at Epinions.com 12/26/06 w/ Additional Edits & Revisions.

Based on the novel Tristram Shandy by Laurence Stern, Tristram Shandy: A Cock & Bull Story is about the making of a film adaptation of Tristram Shandy where cast and crew deal with the impossible task of filming a novel that is deemed un-filmable. Directed by Michael Winterbottom and screenplay by Frank Cottrell Boyce (under the Martin Hardy pseudonym), the film explores the story of Tristram Shandy as well as film's crew attempt to try and make this impossible film told by its lead actor Steve Coogan who plays the titular character along with Tristram's father and as a version of himself. Also starring Rob Brydon, Jeremy Northam, Ian Hart, Gillian Anderson, Kelly MacDonald, Naomie Harris, David Walliams, Dylan Moran, Keeley Hawes, James Fleet, Mark Williams, Stephen Fry, Kieran O'Brien, and Winterbottom regular Shirley Henderson. Tristram Shandy: A Cock & Bull Story is a witty satire from Michael Winterbottom.

Tristam Shandy talks about his own life and how his uncle Toby (Rob Brydon) got wounded where Tristam later received a similar injury when he was a child (Joe Williams). After discussing his birth and how he was conceived, the birth scene becomes a disaster as its director Mark (Jeremy Northam) is unsatisfied by the results. Steve Coogan and Rob Brydon (as himself) go on break they argue over shoe sizes and height while the assistant director Ingoldsby (Mark Williams) frets over historical accuracy. Often accompanied by production assistant Jennie (Naomie Harris) and trying to be attentive to his girlfriend Jenny (Kelly MacDonald) and their baby, Steve works with Mark and screenwriter Joe (Ian Hart) try to figure out how to tell the story as they realize the difficulty in leaving things out. After an interview with Tony Wilson where Steve reveals what won't be covered, Wilson is enraged over the Widow Wadman story not being filled as Steve later deals with a journalist named Gary (Kieran O'Brien).

Dealing with his attraction towards Jennie, who reveals about a drunken affair they had the previous night, Steve tries to deal with all of the chaos of filming as the rushes for the battle scenes turned out not to be very good. Finally deciding to put the Widow Wadman story in the film, Steve suggests to producer Simon (James Fleet) to get Gillian Anderson for the part. Anderson accepts the role much to Rob Brydon's anxieties as he has a crush on Anderson. Everyone becomes nervous about Anderson's involvement while Rob learns his part is being expanded as Steve is fretting over that as well as Jennie's flirtations. More importantly, everyone else wonders how will this impossible story will be received as the final film.

It's true that adaptations and even biographies are hard to make into films, especially since they feature stories and subplots that readers seem to love. What Michael Winterbottom and his longtime screenwriter Frank Cottrell Boyce tried to do was make two different films. The first act being about Tristram Shandy and then the second act about making the film and the third is about the business of trying to make Tristram Shandy. While Boyce's structure is interesting along with its knack for British humor, the structure and humor isn't for everyone though Winterbottom brings a lot of satire to the film's second and third act. While the first act is an interesting yet funny film about a man's life, during the second and third act, it reveals that the life of this man is filled with so many stories. Especially in a 94-minute film is impossible to tell where it's hard to make the story of a man like Tristram Shandy where the film becomes a satire of where everything in the world of filmmaking goes wrong due to the egos of actors, the accuracy of costumes, and everything in between. The result is a funny, witty satire from Winterbottom and Boyce.

Cinematographer Marcel Zyskind does wonderful work with varied styles of photography to the arty, artificial style of Tristram sequences and scenes to the more documentary, hand-held approach towards the rest of the film. Production designer John-Paul Kelly and art director Emma MacDevitt do wonderful work in creating the period style of the 18th Century for the Tristram sequences while costume designer Charlotte Walter also does fine work in the look of the costumes where it's purposely is made to look foolish. Editor Peter Christelis does excellent work in playing with the film's structure while giving it a leisurely-pacing feel. Sound recordist Stuart Wilson does some excellent work in creating the sound to convey the atmosphere of the times and the documentary-style of the making-of stuff. The film's music is filled with an array of classical pieces from Antonio Vivaldi, Nino Rota, and Johann Sebastian Bach along with additional pieces from Michael Nyman and Edward Nogria.

The film's cast is wonderfully assembled with several actors playing themselves or caricatures of the film crew and producers. Featuring small yet notable and funny performances from Mark Williams as a historically-accurate assistant director, Keeley Hawes as Elizabeth Shandy/herself, Shirley Henderson as Susannah/herself, David Walliams as the hilarious parson, Stephen Fry as an eccentric historian, Paul Kynman as Shandy's assistant Obidiah, Dylan Moran as the dim Dr. Slop, Raymond Waring as cousin Trim, and Kieran O'Brien as the journalist Gary. Ian Hart is pretty funny as the screenwriter Joe who tries to re-write everything while Mark Hadfield is also good as another journalist named Leo. James Fleet and Jeremy Northam are excellent in their respectful roles as the producer and director Mark where Northam is really making fun of Michael Winterbottom. Tony Wilson and Gillian Anderson are excellent in their cameos as themselves with Anderson doing a great job as Widow Wadman. Joe Williams and Conal Murphy are really good as the child Tristram with their arrogant personality in believing that they're better actors than Steve Coogan.

Kelly MacDonald is wonderfully sweet as Coogan's girlfriend Jenny while Naomie Harris is witty as Coogan's assistant Jennie. The film's best supporting performance goes to Rob Brydon as Uncle Toby and himself. Brydon is the best comedic foil to Coogan as a supporting actor who suddenly is getting more attention to Coogan while dealing with the upcoming appearance of Gillian Anderson. Brydon steals every scene he's in as he also does some hilarious impressions of American actors. Finally, there's Steve Coogan in one of his funny roles as Tristram, his father, and himself. Coogan is truly a comedic genius with his straight-manner in how he narrates and tells the story while allowing himself to be humiliated in strange situations. This is truly Coogan's film as he brings the same kind of energy and wit that he did in 24 Hour Party People.

Tristram Shandy: A Cock & Bull Story is a fascinating, witty film from Michael Winterbottom and company. Though some might not get the film's British humor, fans of British comedy and the satire of filmmaking will indeed enjoy this. Thanks in large parts to the comedic talents of Steve Coogan and Rob Brydon along with their supporting cast, it's a film that no doubt has the Winterbottom wit. Sadly, this film also marked the end of Winterbottom's collaboration with screenwriter Frank Cottrell Boyce where the two fell out during the making in which Boyce chose the Martin Hardy pseudonym. Still, Tristram Shandy: A Cock & Bull Story reminds them of their talent and great collaboration as writer and director.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You (1998 film)) - Wonderland (1999 film)) - The Claim - 24 Hour Party People - In This World - Code 46 - 9 Songs - The Road to Guantanamo - A Mighty Heart - Genova - The Shock Doctrine (2009 film) - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - The Look of Love - (The Trip to Italy) - (The Face of An Angel)

© thevoid99 2012

V for Vendetta

Originally Written and Posted at Epinions.com on 3/29/06 w/ Additional Edits.

George Orwell's iconic novel 1984 foretold a story about the world being controlled by a totalitarian state where everything and everyone is being watched by a man named Big Brother. Today, Orwell's novel is more relevant through a variety of forms as people sees Orwell's tale right in their face with the chaos of the world. Many films, books, and pieces of music have referenced or used Orwell's idea into art including a graphic novel about a masked vigilante who fights a Fascist government in future Britain by Alan Moore and illustrator David Lloyd called V for Vendetta. The graphic novel became a cult favorite among comic book fans that was so beloved, it even caught the attention of Andy and Larry Wachowski, the creators of The Matrix film series. Though mixed reviews on the latter films of The Matrix chose for them to take a step back from the spotlight, it didn't stop their interest for V for Vendetta which they decided to make into their next project.

Screenplay by the Wachowski brothers with their first assistant director James McTeigue serving as the director, V for Vendetta is an action, political thriller about a futuristic, Fascist-run government in Britain that is threatened by a masked vigilante named V. With people being taken for their subversive ideals, a young woman is also taken where she eventually becomes V's only true ally. Straying away from the excess and mythology of The Matrix, McTeigue, the Wachowskis, and producer Joel Silver chose to create a smart, provocative, and entertaining film that brings enough character and action for a mass audience. Starring Hugo Weaving, Natalie Portman, Stephen Rey, Stephen Fry, Sinead Cusack, Rupert Graves, and John Hurt. V for Vendetta is an excellent, smart action film that challenges the post-9/11 world.

It's futuristic London with years ahead of the 21st Century where everything is restricted and everyone is watched. Even curfew is at stake when a young woman named Evey (Natalie Portman) is about to be raped until she is saved by a masked vigilante named V (Hugo Weaving). After saving her, he reveals to her of his ideas and who he is when he shows her what's about to happen since its hours away for November 5th, which is Guy Fawkes Day. Guy Fawkes was remembered as a man who tried to blow up the building of Parliament in the 17th Century only to be captured and hung. To commemorate this day, V blows up a building in front of the citizens of London and to Evey's horror.

The incident has caught the attention of the country's supreme Chancellor Adam Sutler (John Hurt) who is angry that his own control is now being under attack by an unknown terrorist. He calls for his council member Creedy (Tim Pigott-Smith) to take action. Meanwhile, another of Sutler's insiders, an inspector named Eric Finch (Stephen Rea) has been called to investigate what's going on with help from his assistant Dominic (Rupert Graves). With Evey continuing her work as a production assistant for her boss and TV talk show host, Gordon Deitrich (Stephen Fry), she gets called by him who blamed himself for having to call on her, especially on curfew. While working, V arrives to take charge of the network as he plans to strike again on the next Guy Fawkes Day as he plants a bomb on the TV network station. While trying to escape, Evey tries to help but gets knocked out as V takes her to his underground compound.

Watching the incident closely is Finch who sees that Evey has been captured and could be an accomplice of V. He follows her file closely which reveals that her parents were political activists at the time Sutler was in power shortly after an incident concerning a small plague. Learning that she's in V's underground compound filled with books and artwork, Evey learns from V about his own past which reveals his reasons for wearing a costume and a Guy Fawkes mask. She learned it is from a government lab experiment that went horribly wrong. While she doesn't like his violent approach, she does understand why he's rebelling as V is killing off several people who have burned and experimented on him. One of those targets was a former military commander-turned-TV talk show host named Lewis Prothero (Roger Allam). After reluctantly helping V to reach another of his targets, Evey leaves and hides out in the home of Deitrich.

Finch follows the evidence very closely as he learns that the terrorist known as V might be going after those in an incident following a failed lab experiment One of those people was a former doctor now a coroner named Delia Surridge (Sinead Cusack), who has been wracked with guilt over the incident and had been hiding. When Finch tries to contact her home, she had been found dead only to leave evidence for Finch to find out. Then, Finch begins to question as he and Dominic wonder if any of the incidents including the plagues, water poisoning, and everything else had been under the control of the government. With Evey staying at Deitrich's home, she learns that Deitrich too, has been hiding elements of art including an old copy of the Koran. When he decided to do a show where he lampoons Sutler and V, he gets into trouble as Evey's attempt to escape only gets her captured.

Immediately, Creedy interrogates Evey about the whereabouts and identity of V as she is tortured, abused, beaten, and gets her head shaved in order to reveal the information. While she refuses, she becomes more and more desperate until a letter from next door is revealed by a woman named Valerie (Natasha Wightman) who reveals to herself about her own life. The letters from next door give Evey more of a chance to live as she had escaped and finds herself returning to V. After a brief meeting, she briefly leaves to wait for November 5th while Finch's investigation gains some ground as he learns more about his own government's involvement. There, V goes for his final stand with the people of London watching.

While most films about Fascist governments, especially from a novel like 1984 reveal the idea of a dystopian world where everything is in chaos and leads to a rebellion. In the case for this film, especially in today's world, the film does speak in volumes while bringing a nice balance of no-holds-barred entertainment and bringing in a nice dose of political idealism. While the major flaw in the political part of the film is that the film is one-sided for the most part when it comes to the revolt and subversive ideas of V in destroying the government. It's understandable that V and the people of London are living in a totalitarian time where they're on watch and there's a curfew abroad with trying not to anger the government altogether. McTeigue does a great job in showing the examples of the dystopian world but he doesn't bring enough back-story on how the government party got built or how they came into power.

Still, for the most part, McTeigue and the Wachowski brothers do bring enough sense and humor into the political realm. One of the controversial themes about the film is terrorism. It's not that the film is supporting terrorism but in this post-9/11, it's likely that it won't stop. Terrorism is often inspired by some form of oppression where it's come to the point that it's attack and attack. One of the things that McTeigue and the Wachowski brothers have done isn't see the positive or negative aspect of terrorism but to try and find reasons for it. There, the result only brings more questions than answers. Especially when Evey tries to tell V that violence isn't sometimes the answer. Yet, Evey does come to the point sometimes, action does speak louder than words as she has to learn more about that process, especially when it involves about her own family and colleagues.

The political aspect of the film is wonderfully drawn out and smart despite its flaws which gives the film a nice break from the usual world of action. Still, the action sequences are done with great style which is similar to the approach of The Matrix but owes more to an 1938 film version of the Dumas novel The Count of Monte Cristo, which is referenced throughout the entire film. There's also a bit of 1984 in the political part of the film while the balance of drama, action, and political intrigue does bring a film that works on every level. The script and McTeigue's direction not only work with creating an amazing film but fleshing out real characters, especially in the development of Evey, V, and Finch. The great thing that the Wachowski brothers do is create real people in real situations while feeding off the world they live and hoping to do what they feel is right.

Helping McTeigue in his vision is late cinematographer Adrian Biddle (whom the film is dedicated to after his death in late 2005) who creates a wonderfully gray look for the film's night scenes while bringing out great, colorful lighting in a dreamy sequences involving the character of Valerie. Biddle's cinematography is amazing and wonderful exquisite to bring out the look and tone of the film as his work is amazing and he is a great cinematographer that will be missed.

Helping with the look of the film are production designer Owen Paterson plus art directors Marco Bittner Rosner, Sarah Horton, Sebastian T. Krawinkel, and set decorator Peter Walpole. The look of the film is distinct for the dystopian tone of the black, red flags of the government to the things that Deitrich and V have like the books, artwork, and stuff that fills around the room that suits their personalities. Costume designer Sammy Sheldon also does wonderful work in creating the Guy Fawkes look and the prison look that Evey takes on while presenting, a nice, militaristic look of the government.

Helping to piece the film together in the perspective of what's going on, especially in the third act is editor Martin Walsh who does some great cutting work and perspective cuts that gives a nice pacing and feel into the movie while it giving a nice, leisurely feel to the entire film. Sound designer Glenn Freemantle does some wonderful work with the sound to give the sense of suspense while visual effects supervisors Dan Glass and Matt Johnson help flesh out the look of the film plus the visual designs of the destruction that goes on the film. In the music department, composer Dario Marianelli brings great work in capturing the dystopian feel of the film along with its intense, action sequences. The film's soundtrack is very diverse with not just a bit of jazz cuts plus music from Tom Waits and Cat Power. Added to give the film a nice coda that plays well to the film’s politics is a classic tune from none other than, the Rolling Stones.

Finally, there's the film's superb cast that includes some great, minor performances from Clive Ashborn as Guy Fawkes, Billie Cook as a little girl in love with V's ideas, and Natasha Wightman as Valerie, who brings a nice presence to the film and provides the determination for Evey's change in political idealism. Rupert Graves does excellent work as Finch's partner Dominic. Sinead Cusack is excellent in a small role as a target for V as her performance brings a wonderful sense of importance to the plot while in her scene with V, she commands a dignity that is rarely scene in a confrontational scene. Roger Allam is excellent as this Rush Limbaugh-like talk show host who commands enough attention and demeanor that he does great work as a villain while Tim-Pigott Smith is also excellent as the devious Creedy.

Stephen Fry gives a wonderfully funny, sweet performance as Evey's talk-show superior whose love for art and comedy give Evey reasons to rebel against the government as Fry is a stand-out.John Hurt goes full circle from his performance as Winston Smith in a 1984 film version of 1984 to play a Big Brother-like leader in Adam Sutler. Hurt brings a great, terrorizing presence that is almost scary to watch as his rage in full close-up is enough to reveal the intensity of his performance. This is truly one of Hurt's best work as he stands out in full-form as Sutler.

Stephen Rea also does great supporting work as Eric Finch with his indifferent, observant performance who relies more on his instincts to try and see if things are wrong. Rea is perfect in his role as he tries to bring a perspective of what could be right or if he is doing the wrong thing. Hugo Weaving gives a wonderfully charming yet menacing performance as title role of V. Though most of his performance is in a mask, Weaving brings enough charm and wit to his role that doesn't make him feel like a terrorist but rather a vigilante. Weaving has great chemistry with Natalie Portman throughout the film while revealing his own vulnerability with his body language which brings depth into a role that doesn't require to reveal a lot of emotions. Fortunately, Weaving does masterful work in his performance.

Then, there's Natalie Portman (It's Po'tman motherfucka!), who gives probably one of the best performances of her career. While she falters a bit with the English accent, Portman's ability to display emotions and observance that overshadows whatever flaws she might have. Whereas George Lucas directs Natalie to display awful lines with stilted performances, McTeigue and the Wachowski brothers do great utilization of her talent. Natalie sells every moment of despair and anguish into her torture scenes while making her into a full character who goes from being a fearful young woman to a woman who no longer sees or feels fear but wants to do something. Even stripping down physically, Portman brings a presence that is unique and hypnotic that it's bar-none, one of her strongest. It's clear that in an age of young starlets trying to get the biggest paycheck or get the right movie for an Oscar nod. Natalie Portman is right now the Best Actress of Her Generation. If you don't think so, read this from comedy actor Andy Samberg:

Natalie you are a badass batch (hell yeah)

and I will pay for your dry cleaning when my shit gets in your shoe (what)

as for the drug use, well I can vouch for that

my dick is scared of you, girl

-In the Life of Natalie Portman by Natalie "MotherFucking" Po’tman

Overall, V for Vendetta is a fun, smart action film that has enough bang for the buck while presenting the audience with some smart, political insight. Though this film is not meant to inspire terrorism, it does question the intention of what terrorism is trying to say. It's just a fun movie to watch thanks to Joel Silver, James McTeigue, and the Wachowski brothers with great performances from Natalie "M.F." Po'tman, Hugo Weaving, Stephen Fry, Stephen Rea, and John Hurt. In the end, for anyone wanting to celebrate fireworks and want a revolution, go see V for Vendetta.

(C) thevoid99 2010