In an alternate 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.
A marksman living in exile is coaxed back into action after learning of a plot to kill the president. Ultimately double-crossed and framed for the attempt, he goes on the run to track the real killer and find out who exactly set him up, and why.
Selene, a beautiful vampire warrior, is entrenched in a war between the vampire and werewolf races. Although she is aligned with the vampires, she falls in love with Michael, a werewolf who longs for the war to end.
On the eve of retirement, Kirk and McCoy are charged with assassinating the Klingon High Chancellor and imprisoned. The Enterprise crew must help them escape to thwart a conspiracy aimed at sabotaging the last best hope for peace.
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
Premiered in more theaters (3,611) than any other R-rated movie. Scored the biggest debut of 2009 with a $55.7 mil weekend gross, in March of the same year, until Monsters vs. Aliens (2009) opened a few weeks later. See more »
In Dan Dreiberg's underground laboratory, Rorschach rather pointedly drags his finger through a thick coat of dust over a cover on his work bench to indicate its lack of use. Later when Laurie Juspeczyk pulls the dust cover off of the "Archimedes" ship, there is no cloud of dust. See more »
[Reaching into Rorschach's cell]
You're dead, Rorschach! We got a prison full of killers out here! What do you got?
[Grabbing Fat Thug's hands]
Your hands. My pleasure.
[Rorschach breaks Fat Thug's hands and ties them to the prison bars]
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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 »
Stays True to the "Big Joke," But This May Confuse Some.
Before anyone sees this film, Zach Snyder should be given a pat on the back. He did what a dozen directors struggled to do for twenty years: he made a Watchmen movie. It seems unthinkable that anyone could properly put the greatest graphic novel of all time on the screen. But Snyder has done pretty much that.
While it is not Alan Moore's Watchmen, it is the closest thing that anyone else could have put on the screen. Snyder approached the material with enough reverence that fans of the comic will appreciate the film. As Snyder has openly declared, the final act does include significant changes, but the alterations that take place fit better on the big screen than the original ending would have. It works because it cuts down on a lot of the necessary back story which Snyder could not include.
Even though many pages of the book were not included, Snyder did take the time to try and preserve other information by including short "historical" sequences in the fantastic opening title sequence. By this point, viewers will also have had a chance to appreciate the stellar, and time appropriate, soundtrack. Unlike the hard rock recordings the Snyder chose for the background of 300, Watchmen's background fits the tone and mood of most of the scenes. The only questionable choice was the selection of Leonard Cohen's "Hallelujah," not because of the recording, but rather its awkward placement. Some may also question Snyder's inclusion of gore not present in the book. While the comic does include it's share of violence, Snyder did overtly change several scenes to be more violent. These changes, while flashy on film, may disturb squeamish moviegoers. However, changes aside, Snyder has captured the essence of the book and packaged it in a beautiful 2 hour and 40 minute delight. Overall, it is a satisfying film experience for someone familiar with the source material.
But this might be a different experience for anyone who does not know the book. There is a lot to digest, and the overwhelming visuals may distract some moviegoers from the bigger picture. The interaction of these unique characters remains an integral point to understanding this film, and when the book was pared down for the movie, the relationships of the masked adventures became a bit more forced. The best part of the comic was the glimpse of what is "beneath the hood," and we have less of that in Snyder's adaptation. Additionally, the ending, while simplified, is still a bit convoluted.
Fans and those previously unfamiliar with Watchmen should go in with an open mind. Snyder has performed what Doctor Manhattan might deem a miracle, so it may take more than one viewing to truly appreciate this unique adaptation.
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