In 1985 where former superheroes exist, the murder of a colleague sends active vigilante Rorschach into his own sprawling investigation, uncovering something that could completely change the course of history as we know it.
Clark Kent is an alien who as a child was evacuated from his dying world and came to Earth, living as a normal human. But when survivors of his alien home invade Earth, he must reveal himself to the world.
After the crew of the Enterprise find an unstoppable force of terror from within their own organization, Captain Kirk leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction.
The brash James T. Kirk tries to live up to his father's legacy with Mr. Spock keeping him in check as a vengeful Romulan from the future creates black holes to destroy the Federation one planet at a time.
In a gritty and alternate 1985 the glory days of costumed vigilantes have been brought to a close by a government crackdown, but after one of the masked veterans is brutally murdered an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so discover a deeper and far more diabolical plot.Written by
The perfume Nostalgia makes an appearance at the beginning of the film in The Comedian's apartment. It was featured in Laurie and Dr. Manhattan's scene on Mars in the graphic novel, and was shown to be one of Veidt's product lines. See more »
More or less at 1.30 minutes Silk gets out of a cafeteria with Nite owl and wears a pair of Ray Ban Wayfarer that shows the brand "Ray Ban" on the side. Only Ray ban Wayfarer 2 have that logo; the first model "Wayfarer" did not have any logo, not on the lens and neither on the sides. See more »
Of course. You must protect Veidt's new utopia. What's one more body amongst the foundations? Well, what are you waiting for? Do it.
[Dr. Manhattan hesitates]
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The company logos are black-on-yellow, with text set in Futura Condensed, the font used for titles throughout the graphic novel and film. See more »
The Director's Cut is 20 minutes longer than the Theatrical Version. Differences:
While Rorschach is in The Comedian's apartment, two uninformed cops enter to investigate noises.
Let's get this out of the way - Watchmen the movie is not as good as the graphic novel.
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, unfilmable. So Snyder did something very smart - 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 cinematically perfect and is indicative of the heights which the Watchmen movie is perfectly capable of achieving but not quite capable of sustaining.
Watchen 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.
Snyders 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.
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 cheapens the experience in search of the lowest common denominator and the whole package suffers. On a related note, neither of the stories major revelations are handled that well. These moments were genuinely shocking in the graphic novel but are almost glossed over in the film.
Don't get the wrong impression, Watchmen is a good film, sometimes a great film. Snyder has managed to make a movie 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 not deliver the depth of feeling and connection of the novel but that is more a matter of the differences in the media than a failure on the part of the film.
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 Alan Moore's Watchmen but it is a competent extension of the universe into another medium and a worthy cinema-going experience.
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