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.
Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
Clark Kent, one of the last of an extinguished race disguised as an unremarkable human, is forced to reveal his identity when Earth is invaded by an army of survivors who threaten to bring the planet to the brink of destruction.
When bitten by a genetically modified spider, a nerdy, shy, and awkward high school student gains spider-like abilities that he eventually must use to fight evil as a superhero after tragedy befalls his family.
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
In the opening montage, Neil Armstrong says "Good luck, Mr. Gorsky" on the moon. In urban legend, the child Armstrong, searching in his neighbors' backyard for his lost baseball, overhears Mrs. Gorsky from the bedroom saying 'Oral sex?! I'll give you oral sex when that kid next door walks on the moon!' and so, years later, says "Good luck, Mr. Gorsky" as the first lunar transmission to Earth. This story has been debunked by Armstrong himself, and other sources. See more »
In this movie, the United States won the Vietnam War. However, one of Veidt's monitors is playing Rambo: First Blood Part II, a movie about avenging America's losses in Vietnam. In Veidt's world, Rambo must be regarded as an imaginative science fiction movie set in an alternate universe. See more »
Bold moves, Henry. That's what's needed right now. We can't let these fuckers think we're weak!
Yes. They must fear the madman Richard Nixon.
See more »
Gerard Butler is given second opening credit in the Ultimate Edition (on the fuselage of the airplane in the montage), due to him playing the part of the pirate in the 'Tales of the Black Freighter' segments. See more »
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
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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