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Rating:
The classic blockbuster that, instead of targeting the usual wide audience, appeals to a more niche group of nerds and comic book enthusiasts, revolutionary computer geeks.
The plot itself is laughable, but it made sense in a comic book (which certainly doesn't need to have realistic pretensions). Furthermore, every explicitly fascist characterization of the regime (present in the comic) is removed in the film, precisely because it's a blockbuster and must try not to offend anyone.
To this end, the galactic cunning is to insert (a technically questionable choice in general, in this case disgusting) images of real clashes between protesters and police officers, so that the average viewer (teenager) feels even more involved in seeing scenes similar to what they might have experienced (who hasn't been in a protest as a youth?).
Noteworthy in the film is also the character of the commissioner: completely absurd, his redemption shows how fake the revolutionary message of the film is, actually more reactionary than ever. I need to be explained how it's possible that someone who has been in the police for 27 years (as stated in the film), who is part of the 6 or 7 close advisors of the dictator, could be unaware of everything, gradually being surprised as he discovers the various injustices committed by the regime. In the end, the jerk gets saved, indeed, he plays a fundamental role, almost on the assignment by V himself, who throws him clues, albeit under false pretenses.
Another absurd detail of the plot is when the young Evey (Portman), after being imprisoned by V (again here: this sounds more Nazi than anything else. The reference to concentration camps is even explicit in the flashbacks on the history of Dr. Surridge. The method, however, is reused by the masked madman, in order to liberate Evey from her slavery, meaning to bring about that superman in her, not so different from what is sought by all authoritarian regimes, primarily the fascist one) decides to leave, despite being wanted by the police as she's accused of being the main collaborator of the terrorist who is sowing panic in the streets of London.
She, cool and collected, roams around as she pleases, and when she wants, returns to V's house (surprisingly finds herself in the living room, which gives the idea of how advanced the security systems of the place are, which, incredibly, the police can't find) and justifies her relaxed fugitive status with "fake documents" that might have sounded plausible as a justification until the '90s, but in a society where a fingerprint is needed to get a coffee (because that's how the director shows it), it's simply laughable.
There's nothing to save the film, except for a couple of well-shot scenes, and the responsible use of special effects.
Is it a coincidence that Moore (the author of the comic) did not want his name to appear in the end credits?
It's not a coincidence.
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