When V for Vendetta first arrived in cinemas back in 2006, it seemed unlikely to trouble the box office. After all, it was based on a 1980s comic book by Alan Moore and David Lloyd that was practically unknown to non-comics fans, giving it very little brand recognition to trade on.
And yet director James McTeigue’s take on the material – which follows the efforts of Guy Fawkes-clad V (Hugo Weaving) and his protégé Evey (Natalie Portman) to topple a totalitarian UK government – nonetheless wound up being a huge critical and commercial success.
With Bonfire Night upon us, now seems like the perfect time to revisit the film, so here’s a list of five things you didn’t know about V for Vendetta!
So much has already been said about Blade Runner 2049 – director Denis Villeneuve’s follow up to Ridley Scott’s 1982 cult sci-fi classic – that it’s hard to know where to begin.
The film – which, like its predecessor, draws upon Philip K. Dick’s novel Do Androids Dream Of Electric Sheep – has received near universal acclaim from critics, which is nothing short of remarkable for a sequel weighed down by 35 years worth of expectations!
But amid reports of underwhelming box office returns, casual moviegoers might be left wondering if Blade Runner 2049 lives up the massive amount of hype cinema buffs have built up around it.
The honest answer is no, probably not. However if Villeneuve’s film isn’t quite the masterpiece it’s being hailed as, it’s always good and often brilliant, and most importantly, serves as a worthy continuation of the Blade Runner story.
There’s been a lot of buzz lately around Christopher Nolan’s latest film, Dunkirk, which opened last month. As stunning as Nolan’s war epic is, recently, I’ve actually found myself more preoccupied with one of the director’s earlier classics, dream-heist caper, Inception.
Specifically, I’ve been fixated on one question: at the end of the film, is Cobb awake or not? It’s a question that cinephiles have debated constantly since Inception was released way back in 2010 – and in this month’s Live From The Pop Culture Studio, we’re going to answer it!
With all the hoopla surrounding Blade Runner 2049, the upcoming sequel to Ridley Scott’s 1982 cult classic, it’s easy to overlook another Philip K. Dick adaptation celebrating its anniversary this month. That’s right: Minority Report recently clocked up 15 years since its theatrical release.
The first collaboration between Steven Spielberg and Tom Cruise, Minority Report is as good as you’d expect from a pair of cinema legends. It offers up a smart, heartfelt and scarily prescient commentary on where humankind might be headed – all wrapped up in a gripping, visually stunning action-thriller detective story!
One of the things the really sets Minority Report apart from other sci-fi movies is just how plausible its fictional world feels. This is largely thanks to the think tank of actual futurists that Spielberg assembled to help him realise his vision of 2054.
It should come as no surprise, then, that so much of the futuristic hardware we see in the film is now very much a reality in our world. Whilst long-range personal jet packs unfortunately remain a mere pipedream (for now…), here are five Minority Report technologies that came true!
The Oscars have been and gone, and – despite the ardent support of a vocal group of critics and fans – Arrival failed to snag the Best Picture gong (that went to La La Land…I mean, Moonlight).
Whilst this will no doubt disappoint the many fans of Denis Villeneuve’s sci-fi thriller (it has a 94% rating on Rotten Tomatoes, suggesting near-universal acclaim), there’s also a less vocal group of naysayers – myself included – who question whether Arrival really deserves the heaped praise it has received.
Indeed, if you do a quick google search, you’ll find more than a few cinephiles asking whether Arrival is just a little overrated – a good film over-hyped into a great one.
Heck, I’m a sucker for spy movies in general – from the Bourne series through to Mission: Impossible flicks all the way down to The Man from U.N.C.L.E.
Yet even as I’m drawn to these films for their escapist thrills, there are times when I hanker for something a bit more “real”.
I’m talking about espionage yarns less about shooting up the bad guys and bedding gorgeous women, and more about the less glamorous legwork and moral quandaries that plague the secret agent trade as it exists in our world.
Fortunately, there are more than few films out there that cater to those with similar hankerings to get their fill.
One of the very best is Tinker Tailor Soldier Spy, Tomas Alfredson’s adaptation of the classic John le Carré novel – released in cinemas five years ago this month – the closing montage of which serves as the basis for this latest Anatomy Lesson feature.
Yet when it came time to take a look back at Super 8 – released this month five years ago – what struck me was how, even though the film does indeed owe a huge debt to the films of Steven Spielberg, it still works as a stand alone effort, telling a unique and personal story all its own.
This is visible in every strand of Super 8‘s DNA, from its semi-autobiographical narrative that looks back at what it was like for Abrams growing up a movie-obsessed kid making his own short films, through to its nostalgia-tinged sensibilities, which allow it to serve as a love letter from that same kid to the films of the late 70s and 80s that influenced his eventual blockbuster career.