Not surprisingly, some of the Diners went to see it on Friday; also not surprisingly, given our St-Clair W dining location, we got to the Paramount just before the 7:45 show and were told only the very front row was still open; Jason and some others went in anyway. Don, green_trilobite and I waited for the next showing, which turned out to be in the Imax theatre. Good place to see VfV - given the amount of background detail in each shot; although there was a minor character who apparently had the same pimple on his face for a whole year...
What I liked best (apart from things blowing up to the finale of the 1812 Overture) was that they really got that Allan Moore everything-is-an-echo-of-everything-else, which is the underlying theme of From Hell, for instance, and which failed to come across in that movie adaptation. I liked that there were parallels even where they didn't turn out to be plot points, for instance the mirroring of Deitrich and V. I also liked scanning everything in V's place and trying to figure out what had earned it a spot in the Censor's vaults: "ok, pagan, pagan, homoerotic, heretical, just plain too weird - hm, I wonder what their problem was with the Turner - not representational enough?"
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What I liked best (apart from things blowing up to the finale of the 1812 Overture) was that they really got that Allan Moore everything-is-an-echo-of-everything-else, which is the underlying theme of From Hell, for instance, and which failed to come across in that movie adaptation. I liked that there were parallels even where they didn't turn out to be plot points, for instance the mirroring of Deitrich and V.
I also liked scanning everything in V's place and trying to figure out what had earned it a spot in the Censor's vaults: "ok, pagan, pagan, homoerotic, heretical, just plain too weird - hm, I wonder what their problem was with the Turner - not representational enough?"