With a striking and potentially explosive money shot as blowing up Parliament and a politically timely message as it has, it comes as a disappointment that V for Vendetta ends up as much of a super-hero flick as it does. Whereas 1984's Winston Smith is just an ordinary person who stands against a totalitarian regime, and Brazil's Sam Lowry is just an ordinary person trampled by system that cannot care, V is but a super-hero that neither the government nor bullets can touch, at least, not before making his final cinematic exit. And his methods are similarly comic book broad. It is unbelievable that a single broadcast and shipping everyone a mask would generate such support for his cause.

So it is good that V for Vendetta is not really about V, but rather Evey. Within her story line, Vendetta is more nuanced. Well, as nuanced as shaving Natalie Portman bald can be. While V's extra-human capabilities ultimately have little influence in the movie, Evey's progression from ordinary person to raconteur who sends the bomb-laden subway car on it way delivers the "stand up for your rights" message that V's actions fail to.

Visually, Vendetta is a complete triumph. From the propaganda-esque promotional materials, to the costuming (especially V's mask), to the trappings of the fascist ruling party, to the atmosphere of England, Vendetta is a mainstream rival to 1984 and Brazil. In the current political environment, with the source material this movie comes from, this movie should speak pointedly, and except for some overly comic book influences, it mostly does that.

This is at least the third time I've seen Brazil, but to be completely honest, before this viewing, I'm not sure I could have given a more detailed summary than "futuristic distopia." And seeing how wrong even that little vague essay answer is, it's a good thing I watched it again. This is the first time I've watched the 142-minute final Gilliam cut. Despite a slight case of too many endings (a tactic Peter Jackson mastered in Return of the King), and even though it's a good hour longer than the "Love Conquers All" version, there's really no part of the film that plods.

The recent build up for V for Vendetta inspired me to give Brazil another go, and indeed, may yet prompt another viewing of 1984. While it seems that many critics draw clear distinctions between 1984 (and similarly, V for Vendetta) and Brazil, I am tempted to call these distinctions without difference. Jack Matthews, in Brazil's accompanying booklet, says 1984, "...envision(s) a future ruled by fascism and technology..." whereas Brazil, "...satiriz(es) the bureaucratic, largely dysfunctional industrial world..." But what is the difference between a totalitarian regime and an overly legalistic one? Certainly tone is a difference, it's much easiler to laugh at red tape than Big Brother, but in the end, both regimes completely emasculate the protagonists. With such an end, it matters little whether the antagonist is an evil despot or a well-intentioned bureacrat. Dismissing similarities based on such small differences does neither film favor.