![]() kind of a kinky dressing up as Guy Fawkes fetish thing going on. There's a definite Guy Fawkes motive running through this film isn't there, didn't notice at first (yes I'm being sarcastic). ![]() ![]() Natalie Portman's accent falls off at times, but the lispiness seems at least consistent, and her performance throughout is every bit as good as her Oscar-winning one, though I do think she plays too coy during her "confession" with Father Lilliman so that she seems to be toying with him to aid in V's plan instead of seeking asylum for herself. Ben Miles of "Coupling" is also quite high of power and forehead. Stephen Rea's yammy face and the smallest twitch of his lips convey Inspector Finch's every disguised exasperation at the tyrannical government he's tasked to protect, and this time around, I was truly invested in his character arc. I must also give kudos to the impressive cadre of British thespians that I was unfamiliar with before. I love the brilliantly paced and lovingly lit second act when Evey is taken prisoner and we learn Valerie's heartbreaking story. I love Dario Marianelli's soaring arpeggios and was surprised that I hadn't taken notice of him until "Atonement" in 2007. I love the high angle shots in the onyx, low-lit war room, with all those contemptuous whites of eyes staring up at the oppressive video feed of our corn-grilled chancellor. In 2005, I was blissfully enthralled by Natalie Portman in her follicular heyday, so I didn't quite appreciate the philosophical core of this visually and aurally stunning film. ![]()
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