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, 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.
A shy student trying to reach his family in Ohio, a gun-toting tough guy trying to find the last Twinkie, and a pair of sisters trying to get to an amusement park join forces to travel across a zombie-filled America.
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
(at around 29 mins) When Rorschach breaks into the Rockerfeller Military Complex and starts to name the Minutmen and what happened to them...Rorschach mentions the first Night Owl, the first Silk Specter, Dollar Bill, Silhouette, Mothman and Adrian Veidt (aka Ozymandias), but fails to mention updates on Captain Metropolis and Hooded Justice and what happened to them. 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 »
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.
There's no reason for me to expect I was going to like Watchmen. I knew the cast was interesting - Patrick Wilson has made smart film choices that don't rely on or intentionally subvert his good looks (Hard Candy, Little Children); Jackie Earle Haley was icky in Little Children (and I'm old enough to remember him from Breaking Away); Malin Akerman is cute but 28 Dresses and The Heartbreak Kid do not a superhero make; Jeffery Dean Morgan, Matthew Goode - ??? And director Zack Snyder did cool things with zombies in Dawn Of The Dead and made a wild and wacky movie in 300, which totally indicated his third film was probably going to be worth a look, but...you know, whatever...
So they all signed up for Watchmen - based on a comic bo...sorry, graphic novel...that I'd never read and that was coming to theatres less than a year after Ironman and The Dark Knight had redefined how good superhero movies could (and should, from here on in) aspire to be.
That Watchmen has turned out to be the most complex, exhilarating and deeply-moving fantasy film since Terry Gilliam's Brazil surprises nobody on Earth more than me - and, man, did it surprise.
In equal measure, it is a) an inspired vision of an alternate world that echoes but redefines our own existence; b) a subversive yet bracingly humanistic exploration of the role of the superhero in modern literature, c) a supremely adult take on the fetishistic pull of the heightened existence that life as a saviour of society creates, and d) a wildly exciting adventure story that turns normal people into exaggerated victims of their own creation and then back into mere humans.
An exploration of the plot would reveal more vast themes, but at this early stage of its release I don't want to risk lessening the experience for anyone.
I can reveal this - Billy Crudup as Dr Manhattan and Jackie Earle Haley as Rorschach create characters every bit as captivating (and deserving of Oscar recognition) as Heath Ledger's Joker; Malin Akerman makes an entrance to the world of superhero timelessness that will be the fantasy of every teenage boy, aged 15 to 50; and from the flawless art direction, set design and special effects to a mesmerising soundtrack, Watchmen is a film that revels in the perfection of minor details.
Be warned - those expecting Spiderman-like teen-angst or Fantastic Four-like silliness will be stunned, perhaps not quite sure of what they have found. Watchmen is an extraordinarily mature, risky project for Hollywood to role the dice on, especially given similarly-complex explorations of social collapse and vigilantism (V For Vendetta, most specifically) have failed to do blockbuster numbers.
But Watchmen is something special and deserving of analysis and discussion. As bold an attempt at commercial film-making as I can remember, Watchmen is an undeniably unique movie experience - rich, perverse, violent and resonant.
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