Watchmen(2009)
In a different America in 1985, costumed superheroes are a regular occurrence. Masked vigilante Rorschach (Jackie Earle Haley) discovers a scheme to murder and disrepute all former and current superheroes after one of his former comrades is killed. Rorschach sees a vast conspiracy involving their shared past and terrible repercussions for the future of the globe as he reconnects with his retired colleagues, just one of whom possesses genuine abilities.
Initial release: February 23, 2009 (London)
Director: Zack Snyder
Box office: 185.3 million USD
Budget: 120 million USD
Story by: Alan Moore, Dave Gibbons
Review:
Watchmen (2009) Review: The Clock Strikes Midnight
"This morning, tire tread on a burst stomach and a dog carcass in the alley. I am terrified of this metropolis. I have seen its real face.
The "impossible task" of Hollywood was, for a long time, thought to be adapting Alan Moore and Dave Gibbons' 1986 graphic novel. Darren Aronofsky gave it a shot, but Terry Gilliam gave it a go and failed. It was overly political, complicated, and dense. Then, hot off 300, Zack Snyder arrived in 2009, bringing with him his signature hyper-stylized violence and obsession with slow motion.
The end product is a picture that is more of a moving artwork than a movie, a visually amazing, tonally perplexed, and intriguingly flawed masterpiece that deconstructs the superhero genre before the MCU even has a chance to establish it.
I. The Gospel as Seen
Snyder treated the storyboard as literal scripture, considering the graphic novel to be the bible of comic books. The frames of the movie are slavishly replicated with an obsessive accuracy that approaches reverence for the panels.
The aesthetic is "noir on steroids." The screen is drenched in sickening yellows, bruised purples, and radioactive blues by Snyder. It has a chilly, filthy, and damp sensation.
The Opening Credits: Undoubtedly, this is the finest opening title sequence in the annals of superhero movies. A visual storytelling masterclass that condenses 40 years of alternative history—the death of the dollar bill, JFK's assassination by the Comedian, the moon landing—into a slow-motion tableau of tragedy, it is set to Bob Dylan's "The Times They Are A-Changin'." It informs you of all the details you need to be aware of. There were no heroes to rescue us in this planet. They brought about our demise.
II. The Masks (Cast & Performance)
A bunch of maladapted sociopaths playing dress-up are the life and death of the movie.
The film's beating heart is Jackie Earle Haley's portrayal of Rorschach. Haley is channeling a wild creature, not just pretending. The movie is narrated by his voice, which is a low, gravelly, frightening whisper. He perfectly portrays the character's unyielding (and terrifying) moral extremism.
Billy Crudup's portrayal of Dr. Manhattan: A technological marvel for 2009. The blue, naked atomic god is given motion capture and voice by Crudup. He portrays a character who has lost interest in humanity because we are just too insignificant to matter, not out of malice, in a manner that is fittingly aloof and melancholic.
Jeffrey Dean Morgan as The Comedian: He exudes a nihilistic appeal that makes you both despise and adore him. The cosmic joke—it's all a joke—is understood by him.
Ozymandias, played by Matthew Goode, is the weakest link. Even though Goode is a good performer, his Ozymandias comes out as overly menacing too soon. The novel portrays Adrian Veidt as endearing and friendly, but in this scene, he resembles a James Bond villain from the very start.
III. The Sounds of Violence
Snyder is not known for being subtle, and this is most evident in the action and music.
The Action: The movie transforms the comic's desperate, nasty fights into ballets that break bones. The main criticism of the movie, which is that it glamorizes what it is meant to be deconstructing, arises from this, even though it is visually stunning. It appears fantastic when Rorschach breaks fingers or Nite Owl breaks limbs. It seemed miserable and depressing in the book. Snyder unintentionally portrays fascism as fashionable.
The Needle Falls: The music is loud. "99 Luftballons" by Nena, "All Along the Watchtower" by Hendrix, and "The Sound of Silence" by Simon & Garfunkel. Sometimes it works (The Comedian's funeral); other times it's unintentionally funny (the sex scene set to Leonard Cohen's "Hallelujah" is infamous for a reason).
IV. The Conclusion (The Bomb vs. The Squid)
Upcoming spoilers.
The removal of the "Giant Alien Squid" in favor of Dr. Manhattan's energy signature being framed for the annihilation of New York was the most contentious modification from the source material.
The Verdict: In fact, the movie benefits from this modification. The suspension of disbelief for the average viewer would have been broken by the appearance of an unexpected interdimensional psychic squid in a movie based on the nuclear fear and Cold War realism. The betrayal of the protagonists seems more personal because Dr. Manhattan is framed in the story.
Final Decision: An Imperfect Diamond
In 2009, the film Watchmen was ahead of its time. Prior to the creation of The Avengers, viewers were not prepared for the deconstruction of their heroes since they had not yet witnessed their construction.
It is bloated, self-indulgent, and occasionally prioritizes "cool shots" above the philosophical substance of Moore's work. But it is also unique, daring, and ambitious. Watchmen is a testament to a unique, darker vision in a period of cookie-cutter superhero movies.
Rating: ★★★★½ (4/5) Best For: Lovers of dark movies and visual effects, as well as those who like their heroes with a hint of existential anxiety.
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