In a day and age when we are faced with sequels to Basic Instinct and TV ads warn of an upcoming Larry the Cable Guy movie, it's movies like V For Vendetta that remind us that there are still films out there that not only entertain, but also make us think. First-time filmmaker James McTeigue has brought us a film that is a joy to watch, not only because it is visually stunning, but because it is constantly fascinating almost from the first frame of the film. While it's true that the story loses a bit of weight when you apply logic to it, that still does not hide the fact that V For Vendetta is the first must see film of 2006, and a wonderful return to form for screenwriters the Wachowski Brothers, after their mostly disappointing Matrix sequels.

The film is set in the not too distant future, where Britain is ruled under a constant state of fear and paranoia. The United States is crumbling, and Britain, under the rule of the iron-fisted Chancellor Adam Sutler (John Hurt) has increased in power, but its people are slaves to a government that basically controls all form of media and knowledge in order to keep the citizens under their rule. A masked, knife-wielding vigilante who goes only the name of V (Hugo Weaving) has started a private underground war against the oppressors. Through acts that some would consider acts of terrorism, V hopes to rally the people, and help them understand that "people should not fear their government, government should fear their people".

The story kicks off when V has a chance encounter with a woman who works for the local TV station, Evey Hammond (Natalie Portman), after he saves her from some corrupt officers. Evey is immediately intrigued by the masked man, perhaps because her past involves parents who were political activists. For reasons that perhaps she herself doesn't understand at first, she finds herself fighting for his side, and is slowly drawn into his underworld of revolution and enjoying the pleasures that the government has banned, such as music and film. In a parallel storyline, a police investigator named Finch (Stephen Rea) is desperately trying to piece together the vague clues that may lead to V's identity, and the deeper he digs, the more he begins to distrust the very government that he works for.

While the film's ad campaign may lead audiences to believe that this is a special effects action film, it is really a tightly constructed statement on many of today's issues from terrorism to the use of fear to rally a nation. Although V For Vendetta does have its share of action sequences, it has a much higher purpose, and does so with great skill. It is not just a commentary or dark political satire, but also an interesting character study between two very fascinating characters, and the strange bond that grows between them. Both V and Evey have deep layers to their characters, and they only grow deeper as the story goes on. The film knows how to make every second of its 2 hour+ running time. Not one scene is wasted or seems unnecessary. Aside from the more corrupt government individuals, there are no "black and white" characters. The major cast have numerous levels to be admired, a key example is a surprisingly touching scene where V seeks vengeance on an elderly woman who wronged him in the past. Although it is an act of murder, there also seems to be a quiet understanding between him and his victim, and their final conversation before the act is done is wonderfully written and performed.

Perhaps more so than the characters, it is the realistic look and tone that carries throughout the film. Even though the setting is in the future, the look of the world is wisely not so far-fetched that we can't recognize it. It is eerily plausible for the most part, giving the story a refreshingly honest tone. The overall look is also beautiful in a dark way. Relying mostly on blacks and grays, and with most of the scenes being set at night, the movie knows how to use its color scheme without coming across as repetitive or overly bleak. There are also some spectacularly directed sequences, such as a montage which cuts back and forth between V's affect on the community, and he himself setting up an elaborate set of dominos in his underground chamber. The only sequence that rings somewhat false in the entire film is a bloody knife fight late in the story that relies a little bit too much on Matrix-style slow mo. The entire rest of the film had been doing just fine without resorting to such overused "style" tactics, and it was not needed in this scene either.

In order for a story like this to work, it needs a strong cast. After all, in the wrong hands, a man running around wearing a theatrical mask and screaming about uprisings could come across as unintentionally cheesy and laughable. Fortunately, the entire cast is up to the challenge, particularly Hugo Weaving as the masked man himself. He is masked for literally the film's entire running time, and we never get to see his face. It is a credit to his performance that he is able to bring forth great power and emotion to his performance, despite the fact that he is incapable of showing any facial expression whatsoever. He is sincere and strong almost from the moment we meet him. He knows how to play up the theatrical and bizarre nature of his character without going so over the top that he loses the humanity of V. He is sympathetic without being made out to be a complete and total innocent. V is a killer, even he admits that. Yet, like Evey, we the audience are drawn to his word, his world, and his way of thinking. I personally think it's one of the more interesting performances I've seen in a while.

The rest of the cast are equally strong, in particular Natalie Portman and John Hurt. Portman, one of the more talented young women working today, is able to take on a British accent with very few if any instances of her slipping into her natural voice. Much has been made of the fact that she had to shave her head for a good part of the film, but I think her performance rises above her physical appearance in this movie. Besides, if I do say so myself, she doesn't look too bad with a shaved head. Casting John Hurt as the tyrannical Chancellor is inspired seeing that he played the lead role in a film version of 1984 years ago, a story which tackles many of the same issues as V. His screen time is limited, and his character is one-note, but he is able to make the most of it, and still come across as a memorable villain. Stephen Rea as the investigator on V and Evey's trail is a bit underwritten as a character, but he is still able to squeeze out every last ounce of personality in his role.

Thinking back on the film, a few cracks in its mostly strong facade begin to show. It is a bit hard to believe that one man could pull off everything that V does in this film. From staging a prison interrogation for weeks on end without the "prisoner" being the wiser, to somehow mass producing and handing out what seems to be an unlimited supply of masks just like his to the people of the street, V seems to have an unlimited amount of money and time on his hands that he can pull off these elaborate acts seemingly with little time or warning. It is but a minor gripe, however, and it is a credit to the film that I did not come to think of this until after it was over and I was heading home. Also, some issues such as pedophile priests seem to be brought up then forgotten. It's like the Wachowski Brothers were trying to throw as many hot topics as they could into their screenplay. If the movie had focused itself a bit more on just a small amount of issues, it could have been even stronger than it already is.

These faults really do not take away from the fact that V For Vendetta is not only a highly enjoyable movie, but the first memorable film of the year. After 2 and a half months of mediocre dramas and increasingly terrible comedies, this movie is almost like a gift. The film wants to be a popcorn flick for people who want to put a bit more thought into their film going, and at that, it is pretty much a success all around. At the very least, V For Vendetta, strives to be remembered, and with so many forgettable films clogging the multiplexes, that is an admirable thing, and something that should be encouraged.

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