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It turns out that by “concert”, V meant “massive explosion”, as Evey is made witness to an act of terrorism. V proclaims himself to be a freedom fighter whose goal is to rid Britain of government oppression. His mask bears the likeness of Guy Fawkes, a Catholic conspirator who once tried to demolish Parliament and topple the Protestant government. V does not appear to be Catholic, but he clearly sees himself as carrying the same standard in the never ending fight for the little guy. And that would be the end of Evey’s involvement - except that in a world where the government has eyes and ears everywhere, it's hard for anyone to remain truly anonymous. While investigating V's attack, a relentlessly dour detective named Finch (Stephen Rea) sets his sights on Evey, who works as a low level gofer over at Fascist TV. Finch shows up at the studio right about the time V does - with his goofy mask and a stack of C4.

He takes over the station and announces his presence to the world, as well as his intention to blow up Parliament - Guy Fawkes style - on November 5th. When the cops storm the building, V escapes with Evey, who's now a fugitive by association. As a result, they become drawn into each other’s story and as he travels in their wake, Finch gets dragged along as well. Their experiences align symmetrically - V plays the wild eyed revolutionary whose loss of humanity at times makes him hard to distinguish from his enemy. For a time, Evey functions as sort of an audience stand in - implying that we are all at first sheep, until our eyes are opened. And Finch begins to question his role as a government flunky as bit by bit, the investigation begins to draw his moral convictions to the surface.

V for Vendetta clearly finds itself as bold and dashing a figure as V himself, who steals from the government with impunity and wages his private war from an underground lair worthy of a Bond villain. And while the film attempts to stimulate your thinking in the liberty/freedom department, it remains content to raise obvious points without really exploring them to any degree. Think for yourself. Question authority. Fight for your freedom! But like the Occupy movement it would later (indirectly) inspire, we find that getting in someone’s face and complaining certainly gets you attention, but does not in and of itself accomplish anything. And in lacking that kind of depth, Vendetta is more like a slick mash-up of Phantom of the Opera meets The Professional (also starring Portman) – minus the icky age gap.

It’s not bad. It’s just less than it aspires to be. And if you’re okay with that, then Vendetta should fulfill your desire for moderately stimulating allegory with just a hint of dystopian cynicism. And whether you approve of the finished product or not, you have to admit it worked out pretty well financially, critically and with most audiences - if you believe Cinemascore. Despite a narratively and philosophically reductive third act, Vendetta ties together so well you’ll probably feel just fine about forgiving it a few glaring flaws. And if you’re like me and waited until the last minute to think about Halloween, a hastily purchased Guy Fawkes mask plus a pair of jeans and a hoodie is just what the doctor ordered. Alan Moore, if you’re reading this – if nothing else, you got me out of a jam on my favorite day of the year.

Bleak, stylish and willfully preposterous, V for Vendetta takes something that was already pretty good and makes it pretty good for everyone.

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