---
title: "V for Vendetta"
year: 2006
kind: "film"
canonical: "https://film.one/film/v-for-vendetta"
fi1m_id: "v-for-vendetta"
imdb_id: "tt0434409"
tmdb_id: 752
wikidata_id: "Q5890"
fi1m_score: 73
critics_score: 52
critics_reviews: 14
published: "2026-09-14"
review_updated: "2026-09-15"
updated: "2026-09-18T08:38:23.628294+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# V for Vendetta (2006)

Directed by James McTeigue · 2h 12m · MPA R · Action, Thriller, Science Fiction

## Identity

V for Vendetta

- **Canonical:** https://film.one/film/v-for-vendetta
- **Type:** Film
- **Fi1m ID:** v-for-vendetta
- **IMDb ID:** tt0434409
- **TMDB ID:** 752
- **Wikidata ID:** Q5890
- **Same entity:** https://www.imdb.com/title/tt0434409/, https://www.themoviedb.org/movie/752, https://www.wikidata.org/wiki/Q5890

**Fi1m score: 73** · Critics 52 from 14 reviews

*In a sentence:* We would hear Hugo Weaving out on violent revolution, though we might occasionally check the time

> *V for Vendetta* is a compelling political thriller despite its heavy-handed speeches. Hugo Weaving makes its masked revolutionary worth listening to, and gives us reasons to be uneasy about how much we want to agree.

## Synopsis

In a totalitarian state, Evey (Natalie Portman) becomes involved with V (Hugo Weaving), a masked opponent of the government who uses violence in pursuit of political change. His campaign raises questions about freedom, personal responsibility and what resistance permits. As Evey confronts his ideas and methods, she must consider what liberation means when its advocate is willing to use terror. James McTeigue directs a science-fiction thriller written by Lilly Wachowski and Lana Wachowski, with Stephen Rea as Finch, Stephen Fry as Deitrich and John Hurt as Adam Sutler.

## Review

James McTeigue’s *V for Vendetta* is a good political thriller with a habit of explaining itself after we have understood it. It asks us to consider a violent opponent of totalitarian rule as someone worth listening to, and makes that invitation uncomfortable enough to be interesting. Lilly Wachowski and Lana Wachowski’s screenplay wants an action audience to sit still for questions about power and personal responsibility. We welcome the ambition, even when the dialogue makes it feel like homework.

Hugo Weaving gives V enough intelligence and charm to make his violence difficult to dismiss. With the face concealed, the performance depends on the voice, and Weaving can make a line sound considered even when the writing is straining for importance. We were unsettled by how reasonable this masked man could sound while advocating violence. The performance keeps us questioning our sympathy for him through passages where the screenplay seems rather too satisfied with what he has to say.

Natalie Portman’s Evey gives us someone whose response to V matters beyond agreeing with him. Portman makes the political talk feel like something a person has to live through, and the film needs that. She has less freedom than Weaving to shape her character, because the screenplay is so determined to make Evey carry its ideas. Still, she gives the fear and uncertainty enough weight to stop her character becoming merely an audience for the speeches.

Adrian Biddle’s cinematography is most effective when the film lets V’s mask hold our attention. That fixed expression can be more disturbing than the dialogue explaining the man beneath it. The violence has visual force, although McTeigue sometimes interrupts the political thriller with action that does little to deepen it. Owen Paterson’s production design is harder to believe in. The dystopian setting often seems empty, which weakens the sense that ordinary lives continue outside the central confrontation.

Martin Walsh’s editing gives the mystery more patience than the action-film billing suggests, and some of that patience is welcome. We have time to consider V before being asked to cheer him. Yet exchanges continue after their point is clear, and at 132 minutes the film needs a firmer cut where the screenplay restates its politics. Dario Marianelli’s score supplies urgency, but cannot disguise how little some of these conversations advance. The problem is repetition, rather than the decision to let people talk.

As political thrillers go, this is blunt about power and more interesting about the appeal of resistance. The supporting cast helps keep that interest alive through the talk. Stephen Rea brings steadiness to Finch, and John Hurt gives Adam Sutler the force the writing requires. Both are worth watching even when the screenplay is spelling out something we have already grasped.

Most critics disagree with us: the consensus finds the confused politics and heavy dialogue more damaging than we do. We think that judgement gives too little credit to the uneasy sympathy Weaving creates for V, which survives the script’s attempts to explain it. There is enough uncertainty in the central performance to keep the film interesting when the writing becomes blunt. Give it an evening if political speeches are something you are prepared to tolerate between acts of rebellion.

*Fi1m score 73, published 14 September 2026.*

## What the critics say

The reviews are sharply divided, with negative responses outnumbering positive ones and little agreement on whether the political ambition pays off. Praise clusters around the cast, particularly Hugo Weaving’s masked performance, while several critics find the images striking even when the storytelling falters. Supporters value the film as a talkative political mystery rather than a straightforward action thriller, finding substance in its questions about liberty, totalitarianism and resistance.

Reservations centre on ponderous dialogue, uneven pacing and a confused fit between political ideas and action spectacle. The disagreement goes beyond execution: RogerEbert.com welcomes the ambiguity around terrorism, while The New Yorker sees a celebration of terrorism and destruction. Even the ending divides opinion, with Radio Times praising its execution and relevance and The AV Club finding it sentimental and too tidy. The spread is wide: what persuades some critics strikes others as muddled or politically unconvincing.

## Straight answers

**Is V for Vendetta worth watching?**

*V for Vendetta* is worth watching for anyone who can sit through political speeches between acts of rebellion, and we scored it 73. Hugo Weaving makes the masked V charming enough that his violence is difficult to dismiss, which is the film's most interesting effect. At 132 minutes it repeats its politics more than it needs to.

**How long is V for Vendetta, and what is it rated?**

*V for Vendetta* runs 2h 12m and is rated R by the MPA in the US. It is an action and thriller film.

**Where can I watch V for Vendetta in the US?**

*V for Vendetta* is available to rent from Amazon Prime Video and Apple TV from $4.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is V for Vendetta, and is it suitable for children?**

*V for Vendetta* carries a UK 15 certificate, and its violence has real visual force, so it is not for younger children. The film is a thriller about a man who uses terror for political ends, and the unease it creates around him is the point. Older teenagers prepared for that, and for long stretches of talk, should manage it.

**How does V for Vendetta compare to Brazil?**

*V for Vendetta* is a blunt political thriller, while [*Brazil*](https://film.one/film/brazil) is a bureaucratic nightmare with a much nastier sense of humour. Gilliam's film is funnier and more frightening, though its storytelling loses shape; McTeigue's is more direct but explains itself too often. Choose *Brazil* for absurdity and detail, *V for Vendetta* for a masked revolutionary worth listening to.

**What should I watch after V for Vendetta?**

After *V for Vendetta*, try [*Brazil*](https://film.one/film/brazil) (1985, Fi1m 83): Another oppressive state, with more paperwork and a much nastier sense of humour. Then [*The Battle of Algiers*](https://film.one/film/the-battle-of-algiers) (1966, Fi1m 93): For a harder examination of political violence and the people caught within it; and [*The Lives of Others*](https://film.one/film/the-lives-of-others) (2006, Fi1m 84): Surveillance and private conscience, explored through small decisions with serious consequences.

### Reviews we read (14)

- **RogerEbert.com**, Roger Ebert (3.5/4): The critic praises the film's ideas and literary quality over typical graphic novel adaptations, noting its intriguing ambiguity about terrorism and totalitarianism. He singles out the strong supporting cast and Hugo Weaving's performance behind the mask for praise, while criticizing the ending's focus on architecture over people. [Read](https://www.rogerebert.com/reviews/v-for-vendetta-2006)
- **The AV Club**, Keith Phipps (B): The film is a compelling, visually striking political mystery with big ideas about integrity, liberty, and political change, though it stutters in delivering them fully. It loses its way with big-budget action mechanics, ponderous dialogue, and a too-tidy sentimental finale, but the critic singles out a long monologue sequence depicting the protagonist's awakening as simultaneously uplifting and harrowing. [Read](https://www.avclub.com/v-for-vendetta-1798201553)
- **Empire**, Dan Jolin (70/100, inferred): The film is the best screen adaptation of Alan Moore's work yet, a talky and deliberately paced political thriller that challenges viewers with its ideas rather than action. It singles out for praise the powerful gut-punch episode involving Evey's ordeal, which survives largely intact from the comic. [Read](https://www.empireonline.com/movies/reviews/v-vendetta-review/)
- **Radio Times**, Alan Jones (3/5): The critic sees it as a mix of audacious and clunky, praising the stunningly executed and relevant ending while noting issues with accents, predictability and an empty atmosphere. [Read](https://www.radiotimes.com/movie-guide/b-qa8xhf/v-for-vendetta/)
- **Screen Daily** (40/100, inferred): The critic notes it starts promisingly with interesting ideas about totalitarianism but succumbs to hokum, silliness and an uneven mix of pulpy action and politics. [Read](https://www.screendaily.com/v-for-vendetta/4026168.article)
- **The New York Times**, Manohla Dargis (40/100, inferred): The critic finds the film muddled and derivative, questioning whether its masked avenger is a terrorist or freedom fighter in a story that updates the comic with contemporary political allusions. She singles out the weak script and direction for complaint, noting it fails to cohere despite its ambitions. [Read](https://www.nytimes.com/2006/03/17/movies/who-is-this-masked-avenger-guy-fawkes-count-of-monte-cristo-or-a.html)
- **Variety**, Leslie Felperin (40/100, inferred): The critic finds the adaptation visually striking but ultimately flat and hampered by indigestible dialogue and weak pacing, suffering from issues similar to the later Matrix films. She singles out the strong cast for note but criticizes the helming and lack of chemistry between leads. [Read](https://variety.com/2006/film/markets-festivals/v-for-vendetta-2-1200518521/)
- **The New Yorker**, David Denby (30/100, inferred): The critic dismisses the film as a dunderheaded fantasia that celebrates terrorism and destruction, criticizing its flat characters and pseudo-philosophical dialogue. He singles out the violent action sequences for some visual praise but notes the overall lack of excitement and coherence. [Read](https://www.newyorker.com/magazine/2006/03/20/blowup-5)
- **Time Out**, TJ (30/100, inferred): The critic finds the film soporific and unpersuasive despite its anti-establishment themes, criticizing the pacing, exposition and visuals while noting decent performances. [Read](https://www.timeout.com/movies/v-for-vendetta-1)
- **The Guardian**, Peter Bradshaw (10/100, inferred): The critic calls the film valueless gibberish, a boring and baffling adaptation of the graphic novel that fails to capture its style or interest. They single out the unconvincing design, fight scenes and clichéd elements for complaint. [Read](https://www.theguardian.com/culture/2006/mar/17/1)
- **Eye for Film**, Anton Bitel (80/100, inferred): The critic praises the film as a surprisingly low-key mystery thriller and character drama with a subversive political message that justifies the actions of its terrorist protagonist in a recognizable dystopia. Weaving's masked performance as V is singled out as extraordinary, while Portman's Evey is noted as the weak point due to script issues. [Read](https://www.eyeforfilm.co.uk/review/v-for-vendetta-film-review-by-anton-bitel)
- **Collider**, Nicole Pedersen (75/100, inferred): The film is a smart and timely sociopolitical commentary and a good popcorn movie, likely the best adaptation of Alan Moore's work to date. It succeeds as a dark and engrossing fairy tale updated for a post-9/11 world, though purists may miss some elements from the source graphic novel. [Read](https://collider.com/dvd-review-v-for-vendetta/)
- **Paste**, Robert Davis (60/100, inferred): The movie succeeds despite its muddled ideas thanks to Natalie Portman, who reflects V's humanity and helps make the vague philosophy palatable. It has a purity of spirit but lands closer to the confused philosophy of Fight Club than more poetic rebellious films. [Read](https://www.pastemagazine.com/movies/v-for-vendetta)
- **The Skinny**, Caroline Hurley (★★): The film simplifies the graphic novel's complex story into a basic fantasy thriller with a strong British cast, resulting in a confused message and lost visual pace. It succeeds most in the realistic and powerful depiction of Evey's imprisonment. [Read](https://www.theskinny.co.uk/film/new-releases/v-for-vendetta)

## Details

- **Director:** James McTeigue
- **Director:** James McTeigue
- **Screenplay:** Lana Wachowski, Lilly Wachowski
- **Cinematography:** Adrian Biddle
- **Editor:** Martin Walsh
- **Music:** Dario Marianelli
- **Production design:** Owen Paterson
- **Costume design:** Sammy Sheldon
- **Producer:** Lana Wachowski, Lilly Wachowski, Joel Silver
- **Cast:** Natalie Portman as Evey; Hugo Weaving as V / William Rookwood; Stephen Rea as Finch; Stephen Fry as Deitrich; John Hurt as Adam Sutler; Tim Pigott-Smith as Creedy; Rupert Graves as Dominic; Roger Allam as Lewis Prothero
- **Runtime:** 2h 12m
- **Certificate (MPA):** R
- **Release (the US):** 17 March 2006
- **Genres:** Action, Thriller, Science Fiction
- **Budget:** $54 million
- **Box office:** $135 million
- **Trailer:** https://www.youtube.com/watch?v=V5VGq23aZ-g

## Where to watch in the US

- Amazon Prime Video: rent $4.99, uhd
- Apple TV: rent $4.99, hd
- Amazon Prime Video: buy $7.99, uhd
- Apple TV: buy $7.99, hd

*Checked 2026-09-15.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Saturn Awards 2007: Best Actress (won)

## If you liked this

- *Brazil* (1985), Fi1m 83: Another oppressive state, with more paperwork and a much nastier sense of humour. — [Fi1m page](https://film.one/film/brazil.md)
- *The Battle of Algiers* (1966), Fi1m 93: For a harder examination of political violence and the people caught within it. — [Fi1m page](https://film.one/film/the-battle-of-algiers.md)
- *The Lives of Others* (2006), Fi1m 84: Surveillance and private conscience, explored through small decisions with serious consequences. — [Fi1m page](https://film.one/film/the-lives-of-others.md)
- *The Parallax View* (1974): Political suspicion becomes a thriller that offers considerably less comfort.
- *Snowpiercer* (2013), Fi1m 80: Class revolt in confined quarters, with action that makes its politics physical. — [Fi1m page](https://film.one/film/snowpiercer.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/v-for-vendetta