LoginWatchmen is my favorite movie of all time, hands down.
This divisive neo-noir graphic novel adaptation is a film that, like The Dark Knight, destroys the superhero archetype...but in a much, much, MUCH more expansive and amazing way. I mean, good God. I could literally go on for pages about this, but I'll keep it concise. These are some of the most philosophically and psychologically-challenging heroes you will ever find, each one imperfect and each one unique.
You have the misogynistic, murderous Comedian - a man who sees the sick joke in life and chose to be a parody of it...his boiler suit representing his sadistic clown-like nature and his commando suit with black leather, red white and blue, and a yellow smiley face badge giving the last laugh to anyone who dares stand in his way. Then there's the distant, apathetic literal "superman" Dr. Manhattan, whose interest in saving humanity is little at best, a literal god whose sole personal relationship with the woman he loves becomes strained because of his ironic inability to properly understand and communicate. Then you have the boy scout and heart-of-gold nice guy Nite Owl II, following in the foot (or talon) steps of the original Nite Owl from the 50's. NO II's fascinations with birds, magic and aviation made him a great hero, but his literal and figurative impotence and complacency hold him from his potential. Then there's the reluctant, fickle Silk Spectre II who had to follow in her mother's stilettos - er, footsteps and just cannot seem to handle her personal relationships very well. Then there's the altruistic genius Ozymandias, who shrouds himself behind Batman & Robin-esque muscle armor and business suits, we find is still nothing more than just a human who wants to be a god, unlike Manhattan who is the exact opposite. And, of course, my favorite of the group, the badass to end all badasses: the dualistic-minded, violent, sociopathic and righteous avenger of justice Rorschach, a tortured soul and obvious product of the harshness that life can bring to a child.
Zack Snyder brought Alan Moore's classic graphic novel to life, again, putting his own directorial spin on it and making it his own, while still sticking to the source material. It's easier to do so, admittedly, since this was a limited series/book compared to Batman, which is a much larger franchise. There were so many perfect moments he nailed, like the opening credits. Seeing all those beautiful and unique characters I came to know through Moore's book being brought to life over Bob Dylan singing was, in all honesty, a spiritual experience. It helped change my entire perception of cinema. Also, I should point out the few major changes he made helped ease the story along and make the transition from page to film better.
I won't go on too much longer about it; I'll just leave it at this: Watchmen is the greatest adaptation of any book I have ever seen, and is a must-see for anyone.
Watchmen Reviews
Watchmen review
Posted : 13 years, 8 months ago on 1 September 2010 04:22
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sad that the lowest rating I can give is 1 star
Posted : 15 years, 2 months ago on 18 March 2009 07:40
"I know what John would say. Nothing ends. Nothing ever ends."
Just like this terrible movie.
Let's start with Rorschach. There was never a time he didn't sound like an emo teenager trying to write ~REALLY DEEP~ poetry about sex, drugs and rock and roll. He was probably one of those kids who thought he was the first person to think that people are savage.
There was a lot of smurf penis. I'm fine with nudity, but there's a point where it's just there to push the R rating. This was one of those times.
OF COURSE the movie had to have tons of crap about tachyons. No terrible science fiction-esque movie is complete without misusing them.
Nixon looked like a human caricature. I'm curious if the makeup artist quit halfway during production and they thought they could get away with Cyrano de Bergerac's prosthetic nose.
OF COURSE there was the super cliche "hitting the button during orgasm". OF COURSE there was the super cliche full moon in the background. OF COURSE it lasted way longer than necessary because they needed to clinch the R rating.
The acting was subpar. At best. This saddened me. I expected more from Patrick Wilson, considering how much I enjoyed his performance in Hard Candy.
Half the movie was slow and tedious. The other half was ridiculously tacky, like Adrian's lair on Antarctica and his pet white tiger with antlers.
If you see this movie, do yourself a favor and sneak alcohol in. Take a drink every time someone says something along the lines of, "what happened to us" or "we were supposed to save the world". Leave your car keys with a friend, you won't be in shape to drive by the time this crapfest is over.
Just like this terrible movie.
Let's start with Rorschach. There was never a time he didn't sound like an emo teenager trying to write ~REALLY DEEP~ poetry about sex, drugs and rock and roll. He was probably one of those kids who thought he was the first person to think that people are savage.
There was a lot of smurf penis. I'm fine with nudity, but there's a point where it's just there to push the R rating. This was one of those times.
OF COURSE the movie had to have tons of crap about tachyons. No terrible science fiction-esque movie is complete without misusing them.
Nixon looked like a human caricature. I'm curious if the makeup artist quit halfway during production and they thought they could get away with Cyrano de Bergerac's prosthetic nose.
OF COURSE there was the super cliche "hitting the button during orgasm". OF COURSE there was the super cliche full moon in the background. OF COURSE it lasted way longer than necessary because they needed to clinch the R rating.
The acting was subpar. At best. This saddened me. I expected more from Patrick Wilson, considering how much I enjoyed his performance in Hard Candy.
Half the movie was slow and tedious. The other half was ridiculously tacky, like Adrian's lair on Antarctica and his pet white tiger with antlers.
If you see this movie, do yourself a favor and sneak alcohol in. Take a drink every time someone says something along the lines of, "what happened to us" or "we were supposed to save the world". Leave your car keys with a friend, you won't be in shape to drive by the time this crapfest is over.
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Who watches the watchmen?
Posted : 15 years, 2 months ago on 6 March 2009 11:50
"Watchmen. One of us died tonight. Somebody knows why. Somebody knows."
When an ex-superhero is murdered, a vigilante named Rorschach begins an investigation into the murder, which begins to lead to a much more terrifying conclusion.
Malin Akerman: Laurie Jupiter / Silk Spectre II
Zack Snyder's Watchmen is not your average graphic novel adaptation. Unlike with 300, which was short and sharp and shallow and easy to adapt, the original Watchmen is incredibly dense and, as written, un-filmable. So Snyder did something very clever - he didn't even try. What he did instead was to take the world of Watchmen and rebuild it in a way which made a virtue of this new medium (film) rather than try to cram the graphic novel into a cinematic form.
Nowhere is this approach more obvious than in the film's title sequence. A wonderfully composed collage of images depicts scenes from the universe of Watchmen in a way which is only possible in the movies. In this way, we are subconsciously introduced to a world where costumed heroes are a part of everyday culture and brought, in a stylish and fluid way, from the original days of the Minutemen to those of the Watchmen. This introduction is perfectly executed, and is indicative of the heights which the Watchmen movie is perfectly capable of achieving.
"The only person with whom I felt any kinship with died three hundred years before the birth of Christ. Alexander of Macedonia, or Alexander the Great, as you know him.
His vision of a united world... well, it was unprecedented. I wanted... *needed* to match his accomplishments, and so I resolved to apply antiquity's teaching to our world, *today*. And so began my path to conquest. Conquest not of men, but of the evils that beset them."
Watchmen is a brave film for a major studio to make and without a doubt it would not exist in its present form without the success of 300. It is incredibly dark (both in tone as well as shooting style) with events that would be anathema to any other superhero story. The less you know about the story, the better, so there will be no spoilers here but suffice to say Watchmen's version of a happy ending is a far cry from the Hollywood norm.
Snyder's brings his unique approach to action to bear on Watchmen, expanding on the action scenes in the comic without making it feel too redundant. His efforts are ably supported by the incredibly game cast, excellent cinematography and near perfect visual effects - this film is incredible to look at but also manages to create an entire world in a way which most superhero stories never do. The attention to detail in even the smallest scenes is commendable and the dense flashback structure means the same attention is paid to the presentation of full and complex characters.
"Rorschach's Journal: November 12th 1985. Dog carcass in alley this morning, tire tread on burst stomach. This city is afraid of me. I have seen its true face. The streets are extended gutters and the gutters are full of blood and when the drains finally scab over, all the vermin will drown. The accumulated filth of all their sex and murder will foam up about their waists and all the whores and politicians will look up and shout 'Save us!' And I'll whisper 'no'."
Snyder has made a film which is gorgeous to look at, agreeably violent, well written, wonderfully designed and features some of the best small scale action sequences ever committed to celluloid. But, naturally, not everything is perfect. Most of the performances are excellent, with a cast of relative unknowns who manage to distinguish themselves despite constantly competing with overbearing effects and design. Patrick Wilson, in particular, does great work with a difficult role as Nite Owl, while Jackie Earle Hayley is blistering as Rorschach. Unfortunately in a film which could have done with a strong female presence, neither Carla Gugino nor Malin Ackerman make much of an impression, despite having quite a lot of screen time. Synder's musical cues are another bone of contention - often pushing the tone of the film into the realm of parody. And the ending... well let's just say it may lessen the experience in search of the lowest common denominator and the whole package solidifies. On a related note, neither of the stories major revelations are handled delicately. These moments were genuinely shocking in the graphic novel but are almost glossed over in the film.
Watchmen is a great film, sometimes a visionary film. Snyder has managed to make a film which is a terrifically well balanced compromise between accessibility and fidelity. That anyone can sit down in the cinema and experience a distillation of the Watchmen universe in just 163 minutes is a marvel. It does deliver the depth of feeling and connection of the novel, a matter of the differences in the media than equations via the film.
When an ex-superhero is murdered, a vigilante named Rorschach begins an investigation into the murder, which begins to lead to a much more terrifying conclusion.
Malin Akerman: Laurie Jupiter / Silk Spectre II
Zack Snyder's Watchmen is not your average graphic novel adaptation. Unlike with 300, which was short and sharp and shallow and easy to adapt, the original Watchmen is incredibly dense and, as written, un-filmable. So Snyder did something very clever - he didn't even try. What he did instead was to take the world of Watchmen and rebuild it in a way which made a virtue of this new medium (film) rather than try to cram the graphic novel into a cinematic form.
Nowhere is this approach more obvious than in the film's title sequence. A wonderfully composed collage of images depicts scenes from the universe of Watchmen in a way which is only possible in the movies. In this way, we are subconsciously introduced to a world where costumed heroes are a part of everyday culture and brought, in a stylish and fluid way, from the original days of the Minutemen to those of the Watchmen. This introduction is perfectly executed, and is indicative of the heights which the Watchmen movie is perfectly capable of achieving.
"The only person with whom I felt any kinship with died three hundred years before the birth of Christ. Alexander of Macedonia, or Alexander the Great, as you know him.
His vision of a united world... well, it was unprecedented. I wanted... *needed* to match his accomplishments, and so I resolved to apply antiquity's teaching to our world, *today*. And so began my path to conquest. Conquest not of men, but of the evils that beset them."
Watchmen is a brave film for a major studio to make and without a doubt it would not exist in its present form without the success of 300. It is incredibly dark (both in tone as well as shooting style) with events that would be anathema to any other superhero story. The less you know about the story, the better, so there will be no spoilers here but suffice to say Watchmen's version of a happy ending is a far cry from the Hollywood norm.
Snyder's brings his unique approach to action to bear on Watchmen, expanding on the action scenes in the comic without making it feel too redundant. His efforts are ably supported by the incredibly game cast, excellent cinematography and near perfect visual effects - this film is incredible to look at but also manages to create an entire world in a way which most superhero stories never do. The attention to detail in even the smallest scenes is commendable and the dense flashback structure means the same attention is paid to the presentation of full and complex characters.
"Rorschach's Journal: November 12th 1985. Dog carcass in alley this morning, tire tread on burst stomach. This city is afraid of me. I have seen its true face. The streets are extended gutters and the gutters are full of blood and when the drains finally scab over, all the vermin will drown. The accumulated filth of all their sex and murder will foam up about their waists and all the whores and politicians will look up and shout 'Save us!' And I'll whisper 'no'."
Snyder has made a film which is gorgeous to look at, agreeably violent, well written, wonderfully designed and features some of the best small scale action sequences ever committed to celluloid. But, naturally, not everything is perfect. Most of the performances are excellent, with a cast of relative unknowns who manage to distinguish themselves despite constantly competing with overbearing effects and design. Patrick Wilson, in particular, does great work with a difficult role as Nite Owl, while Jackie Earle Hayley is blistering as Rorschach. Unfortunately in a film which could have done with a strong female presence, neither Carla Gugino nor Malin Ackerman make much of an impression, despite having quite a lot of screen time. Synder's musical cues are another bone of contention - often pushing the tone of the film into the realm of parody. And the ending... well let's just say it may lessen the experience in search of the lowest common denominator and the whole package solidifies. On a related note, neither of the stories major revelations are handled delicately. These moments were genuinely shocking in the graphic novel but are almost glossed over in the film.
Watchmen is a great film, sometimes a visionary film. Snyder has managed to make a film which is a terrifically well balanced compromise between accessibility and fidelity. That anyone can sit down in the cinema and experience a distillation of the Watchmen universe in just 163 minutes is a marvel. It does deliver the depth of feeling and connection of the novel, a matter of the differences in the media than equations via the film.
"In each human coupling, a thousand million sperm vie for a single egg. Multiply those odds by countless generations, against the odds of your ancestors being alive, meeting, siring this precise son; that exact daughter...until your mother loves a man ...and of that union, of the thousand million children competing for fertilization, it was you, only you...(it's) like turning air to gold...thermodynamic miracle."
On its own merits, Zack Synder's Watchmen is a dark and twisted tale peopled with complex characters whose motivations are not obvious even to themselves. It is a solid film, sometimes rising into the extraordinary, and deserves to be successful. This is not just Alan Moore's Watchmen, it is a visionary extension of the universe into another medium and a worthy cinema-going experience.
"Nothing ever truly ends."
On its own merits, Zack Synder's Watchmen is a dark and twisted tale peopled with complex characters whose motivations are not obvious even to themselves. It is a solid film, sometimes rising into the extraordinary, and deserves to be successful. This is not just Alan Moore's Watchmen, it is a visionary extension of the universe into another medium and a worthy cinema-going experience.
"Nothing ever truly ends."
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An audacious film...definitely worth a Watch!
Posted : 15 years, 2 months ago on 5 March 2009 03:56
"An attack on one is an attack on all of us."
"Watchmen. One of us died tonight. Somebody knows why. Somebody knows."
The plotting probably sounds complex...and it is! Moore's Watchmen ran for twelve issues, and sufficient material was conceived for practically double that amount. Concerns regarding the translation from book to film were more than justified. There is far too much content in the original series, ergo it'd seem virtually impossible for said content to be faithfully crammed into a single movie. Thus, as directors came and left the project and as the production was mired in development hell, questions were raised in regards to how much of the comic book would reach the big screen and what sort of liberties a filmmaker might take. Within a running time bordering on three hours, Snyder has been successful in keeping large segments of the graphic novel intact. Considering the time constraints (not to mention the studio pressure for a concise runtime) and how much one single film can contain, Snyder has done a laudable job of generating a tremendous sense of fidelity to the source material. Granted, various elements have reportedly been removed altogether, others have been condensed and the end has been slightly changed, but a lot of the film is lifted directly from the comic (Snyder has promised a Director's Cut, featuring more of the excised subplots). In fact, Watchmen is probably far too reliant on its source material, never convincingly developing into its own entity. David Hayter and Alex Tse's screenplay also struggles to compact the graphic novel into coherent storytelling - some of it is garbled. But the non-converted (this reviewer included) are offered enough character development and explication to bring one up to speed. Interestingly, with the script conforming to the graphic novel so loyally, the movie also lacks a sense of urgency as well as - above all - a solid driving force behind the plot.
For those unfamiliar with the source material, don't be deceived by the intense trailers. A few violent, hard-hitting action sequences here and there notwithstanding, Watchmen is no action film. Snyder's previous cinematic creation, 300 (also a graphic novel adaptation), was an action film plagued with historical inaccuracies and irritating, excessive slow motion. Snyder's Watchmen (taking heed of Moore's graphic novel) eschews frequent action, instead presenting a 160-minute examination of the human (and not-so-human) psyche. It provokes a stimulating question: who would be crazy enough to don a costume and battle crime? The heroes inhabiting Watchmen are murderers, sadists, rapists, sexual deviants and emotionally-detached maniacs. This troubled congregation of heroes have their back-stories revealed over the film's lengthy duration. Graphic violence (we're talking buckets of blood!) is contrasted by sensual sex scenes and the emotional pathos of unexpected relationships. The film commences with a murder - walls are smashed, furniture is broken, knives are flung, glass is shattered, blood is spilt and a body is tossed. This gritty, brutal tone (as well as the energy in the visuals) is sustained throughout the entire flick - this is perhaps Watchmen's biggest asset.
Snyder knocks this one out of the park. His direction exudes a certain maturity; his shots framed to resemble illustrations present in graphic novels. Over the decades, a variety of directors (including Terry Gilliam, Paul Greengrass and Darren Aronofsky) have become involved but backed off when confronted with the sheer enormity of the task at hand. But Snyder eventually stepped up to the task, helming an extraordinary motion picture worthy of several viewings. However, the director's trademark slo-mo action nonsense is on display here, along with occasionally jarring editing. The slow motion hardly works, ultimately coming off as gimmicky. Yet, it would be iniquitous to begrude Snyder's astonishing, meticulous work as a whole.
The film's R-rating (from the MPAA) is also very much merited. The gore quotient is frankly astounding! Bones are crushed, blood sprays everywhere, people explode...there's visual excitement of every cinematic kind! Rapes occur, as do sex scenes. Heavy thematic material is also in play, which is hard to stomach (misogyny is certainly present). This is a dense work filled with so many layers. Its deeper meanings are almost impossible to entirely absorb on a single viewing (reviewing the film is therefore a daunting prospect).
With Larry Fong's magnificent cinematography and Alex McDowell's amazing production design, the noir-ish, rain-soaked mid-80s depiction of New York City is effectively realised. Garish, colourful costumes are also present, which are similar to those within its literature counterpart. Staggering visual effects and near-perfect CGI are in play here. The characters literally descent off the pages, and the appearance of the world takes its cues from the original illustrations by Gibbons. It's easy to immerse yourself into the eloquently-executed world of Watchmen with technical proficiency of this standard. On top of this, the music is exceptional, as is the use of opera throughout the dramatic lead-up to the shocking finale. Not only is Tyler Bates' original score utilised here...an unforgettable selection of covers also pervade the soundtrack, most notably The Sound of Silence.
"We can do so much more. We can save this world... with the right leadership."
The cast do an exemplary job of inhabiting their characters, with special recognition going to Jackie Earle Haley as Rorschach. Haley's face is mostly obscured by a balaclava, therefore he can only convey emotions through his voice, and he does so very well. Rorschach is more or less a violent version of Phillip Marlowe with a gruff voice that's surprisingly comprehensible (take notes for your next Batman outing, Christian Bale). With his hat, overcoat and an ever-changing balaclava, he's the ultimate noir anti-hero; an unbalanced detective with his own brand of demented justice. The film is told through Rorschach's journal entries, with Haley presenting utterly perfect narration throughout. Haley's performance is the best in the entire film. Beside him, Patrick Wilson wholly encapsulates Nite Owl. The actor looks perfect in both civilian clothing and his superhero costume, while also giving the character a sense of humanity. Billy Crudup is unexpectedly engaging and a constant source of fascination - an awesome visual effect of a naked, blue-tinged superman.
Jeffrey Dean Morgan places forth an excellent performance as The Comedian. There's also Matthew Goode and Malin Akerman as Ozymandias and Silk Spectre II, respectively. They've been perceived as the weakest links of the cast, but I disagree. Akerman is appealing and truly beautiful, whereas Goode is sapped of emotion yet engaging.
Outside these actors there's an enormous supporting cast, all of which turn in great performances.
Watchmen has been frequently branded as the 'unfilmable' graphic novel. It was created with the specific intention in mind of underlining the restrictions of cinema - its boundless artistry seemed impossible to bring to life. Alan Moore and Dave Gibbons' graphic novel was a sprawling twelve-issue series that satirised the superhero genre, held a confronting mirror up to society, mutated events of the past and set the bar for "mature" comics of the future. Watchmen possibly is unfilmable, but Zack Snyder's attempt is monumental and commendable nonetheless. Strokes of brilliance (in the dialogue, special effects, acting) are united with occasionally garbled storytelling, producing an altogether worthy cinematic appropriation of the graphic novel. Never mind the sometimes laboured screenplay as this is riveting viewing. Snyder's remarkable picture is a ballsy, brainy, entertaining and thoroughly bloody examination of human nature, pop culture, and the "good old days" that never were.
The world will look up and shout "Save us!"... And I'll whisper "No."
7.9/10
Twenty-three years in the making, director Zack Snyder's ambitious and audacious cinematic rendering of the acclaimed Watchmen graphic novel (by Alan Moore and Dave Gibbons) is a dense and visceral exercise in the liberation of the conventional superhero movie. Moore's original 1986 effort was a nihilistic satire which deconstructed and intensely studied super heroes in a real world setting, begetting an adult sensibility and a mature approach to what had (up until then) been commonly dismissed as a medium aimed at kids. Loyal almost to a fault, director Zack Snyder's Watchmen grasps Moore's subversive magnum opus of comicdom and brings it to the big screen in a visually astounding, multi-layered filmic experiment guaranteed to divide audiences. Never straying too far from the material, Snyder's compelling motion picture is infused with sound and images combined to generate a unique visual experience that commendably evokes the atmosphere of a graphic novel. Watchmen is a bold, bizarre and breathtaking slice of cinema arguably for both newcomers and fans alike.
In a masterfully implemented opening credits sequence (set to Bob Dylan's The Times They Are A-Changing), the complete history of masked vigilantism is displayed - from its quaint beginnings in the forties to its eventual outlawing in the seventies. This title sequence introduces a viewer to the world in which the proceedings will transpire. The execution is simply faultless; mind-blowing tableaus and short scenes are rendered perfectly to convey the story so far. It's simply one of the greatest title sequences this reviewer has ever beheld.
Watchmen takes place in an alternate reality in which superheroes have become part of the fabric of everyday society. However, these costumed vigilantes have been outlawed, and those still in operation are working for the government. It's 1985, and Richard Nixon is serving his fifth term as President of the United States. The Vietnam War was won by America, and now they're on the brink of nuclear war with Russia.
In his high-rise apartment building, an amoral former superhero known as The Comedian (Morgan) is brutally murdered. This triggers an investigation by washed-up, mentally unstable vigilante Rorschach (Haley) who becomes convinced the crime was not random, and that someone may be bumping off the last of the costumed crime fighters. As Rorschach's investigation intensifies, it grows clear that a far more diabolical plot is poised for execution...a plot which could mean cataclysmic consequences for the entire world. With this at stake, Rorschach reunites with his former colleagues - Nite Owl (Wilson) and Silk Spectre II (Akerman) - who don their costumes once again and leap into action.
The plotting probably sounds complex...and it is! Moore's Watchmen ran for twelve issues, and sufficient material was conceived for practically double that amount. Concerns regarding the translation from book to film were more than justified. There is far too much content in the original series, ergo it'd seem virtually impossible for said content to be faithfully crammed into a single movie. Thus, as directors came and left the project and as the production was mired in development hell, questions were raised in regards to how much of the comic book would reach the big screen and what sort of liberties a filmmaker might take. Within a running time bordering on three hours, Snyder has been successful in keeping large segments of the graphic novel intact. Considering the time constraints (not to mention the studio pressure for a concise runtime) and how much one single film can contain, Snyder has done a laudable job of generating a tremendous sense of fidelity to the source material. Granted, various elements have reportedly been removed altogether, others have been condensed and the end has been slightly changed, but a lot of the film is lifted directly from the comic (Snyder has promised a Director's Cut, featuring more of the excised subplots). In fact, Watchmen is probably far too reliant on its source material, never convincingly developing into its own entity. David Hayter and Alex Tse's screenplay also struggles to compact the graphic novel into coherent storytelling - some of it is garbled. But the non-converted (this reviewer included) are offered enough character development and explication to bring one up to speed. Interestingly, with the script conforming to the graphic novel so loyally, the movie also lacks a sense of urgency as well as - above all - a solid driving force behind the plot.
For those unfamiliar with the source material, don't be deceived by the intense trailers. A few violent, hard-hitting action sequences here and there notwithstanding, Watchmen is no action film. Snyder's previous cinematic creation, 300 (also a graphic novel adaptation), was an action film plagued with historical inaccuracies and irritating, excessive slow motion. Snyder's Watchmen (taking heed of Moore's graphic novel) eschews frequent action, instead presenting a 160-minute examination of the human (and not-so-human) psyche. It provokes a stimulating question: who would be crazy enough to don a costume and battle crime? The heroes inhabiting Watchmen are murderers, sadists, rapists, sexual deviants and emotionally-detached maniacs. This troubled congregation of heroes have their back-stories revealed over the film's lengthy duration. Graphic violence (we're talking buckets of blood!) is contrasted by sensual sex scenes and the emotional pathos of unexpected relationships. The film commences with a murder - walls are smashed, furniture is broken, knives are flung, glass is shattered, blood is spilt and a body is tossed. This gritty, brutal tone (as well as the energy in the visuals) is sustained throughout the entire flick - this is perhaps Watchmen's biggest asset.
Snyder knocks this one out of the park. His direction exudes a certain maturity; his shots framed to resemble illustrations present in graphic novels. Over the decades, a variety of directors (including Terry Gilliam, Paul Greengrass and Darren Aronofsky) have become involved but backed off when confronted with the sheer enormity of the task at hand. But Snyder eventually stepped up to the task, helming an extraordinary motion picture worthy of several viewings. However, the director's trademark slo-mo action nonsense is on display here, along with occasionally jarring editing. The slow motion hardly works, ultimately coming off as gimmicky. Yet, it would be iniquitous to begrude Snyder's astonishing, meticulous work as a whole.
The film's R-rating (from the MPAA) is also very much merited. The gore quotient is frankly astounding! Bones are crushed, blood sprays everywhere, people explode...there's visual excitement of every cinematic kind! Rapes occur, as do sex scenes. Heavy thematic material is also in play, which is hard to stomach (misogyny is certainly present). This is a dense work filled with so many layers. Its deeper meanings are almost impossible to entirely absorb on a single viewing (reviewing the film is therefore a daunting prospect).
With Larry Fong's magnificent cinematography and Alex McDowell's amazing production design, the noir-ish, rain-soaked mid-80s depiction of New York City is effectively realised. Garish, colourful costumes are also present, which are similar to those within its literature counterpart. Staggering visual effects and near-perfect CGI are in play here. The characters literally descent off the pages, and the appearance of the world takes its cues from the original illustrations by Gibbons. It's easy to immerse yourself into the eloquently-executed world of Watchmen with technical proficiency of this standard. On top of this, the music is exceptional, as is the use of opera throughout the dramatic lead-up to the shocking finale. Not only is Tyler Bates' original score utilised here...an unforgettable selection of covers also pervade the soundtrack, most notably The Sound of Silence.
The cast do an exemplary job of inhabiting their characters, with special recognition going to Jackie Earle Haley as Rorschach. Haley's face is mostly obscured by a balaclava, therefore he can only convey emotions through his voice, and he does so very well. Rorschach is more or less a violent version of Phillip Marlowe with a gruff voice that's surprisingly comprehensible (take notes for your next Batman outing, Christian Bale). With his hat, overcoat and an ever-changing balaclava, he's the ultimate noir anti-hero; an unbalanced detective with his own brand of demented justice. The film is told through Rorschach's journal entries, with Haley presenting utterly perfect narration throughout. Haley's performance is the best in the entire film. Beside him, Patrick Wilson wholly encapsulates Nite Owl. The actor looks perfect in both civilian clothing and his superhero costume, while also giving the character a sense of humanity. Billy Crudup is unexpectedly engaging and a constant source of fascination - an awesome visual effect of a naked, blue-tinged superman.
Jeffrey Dean Morgan places forth an excellent performance as The Comedian. There's also Matthew Goode and Malin Akerman as Ozymandias and Silk Spectre II, respectively. They've been perceived as the weakest links of the cast, but I disagree. Akerman is appealing and truly beautiful, whereas Goode is sapped of emotion yet engaging.
Outside these actors there's an enormous supporting cast, all of which turn in great performances.
Watchmen has been frequently branded as the 'unfilmable' graphic novel. It was created with the specific intention in mind of underlining the restrictions of cinema - its boundless artistry seemed impossible to bring to life. Alan Moore and Dave Gibbons' graphic novel was a sprawling twelve-issue series that satirised the superhero genre, held a confronting mirror up to society, mutated events of the past and set the bar for "mature" comics of the future. Watchmen possibly is unfilmable, but Zack Snyder's attempt is monumental and commendable nonetheless. Strokes of brilliance (in the dialogue, special effects, acting) are united with occasionally garbled storytelling, producing an altogether worthy cinematic appropriation of the graphic novel. Never mind the sometimes laboured screenplay as this is riveting viewing. Snyder's remarkable picture is a ballsy, brainy, entertaining and thoroughly bloody examination of human nature, pop culture, and the "good old days" that never were.
7.9/10
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