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.
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.
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.
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 third and final inkblot shown to Rorschach by the psychiatrist is not the same after his flashback. See more »
You see, Doctor, God didn't kill that little girl. Fate didn't butcher her and destiny didn't feed her to those dogs. If God saw what any of us did that night he didn't seem to mind. From then on I knew... God doesn't make the world this way. We do.
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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 »
For over 25 years now, I have cited Blade Runner as my favorite movie of all time. After seeing Watchmen, I may have to reconsider.
First, I'm glad I went to see the movie alone. I've heard so many comments focused on a blue dick, or the length of the movie, or some other such nonsense, that I'm sure watching it with someone would have been a constant barrage of commentary and complaint. And no, that's not Javier Bardem.
Yes, the movie is long; nearly three hours. But, unlike the dreadfully insipid Titanic, at the end of this movie I wasn't asking for those three hours of my life back. And, as with all such movies, you must be able to look beyond the literal.
Watchmen is iconic and iconoclastic, deconstructionist and revisionist, laden with allegory and allusion. Consider, for example, the character Ozymandias. I'm wondering how many people who viewed the film ever even heard of Percy Bysshe Shelley's poem by the same name. The character even quotes the poem on a plinth in his Antarctic lair. The allusion is amazing. Here's the full quote;
And on the pedestal these words appear -- "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.'
Clearly one must see the allusion to the work, in this case, of a superhero who hopes to leave mankind a lasting legacy, but realizes in the back of his mind that everything is eventually lost in time. Ozymandias was the first poem I ever examined from an expositional point of view, and I was blown away. The use of it in this movie is equally impactful.
Then there is Dr. Manhattan, named, of course, for the Manhattan Project, which yielded the atomic bomb. His character is an allegory for God, and his relationship with man mirrors the apparent detachment with which God sees suffering in the world He created. The deity reference is reinforced often, and one thinks of Oppenheimer's citation of the Bhagavad-Gita, in which Vishnu takes on a godly form and says, "Now, I am become Death, the destroyer of worlds."
In an expository scene in the second act, Dr. Manhattan has a sort of recollection of his life. His account is dizzyingly elliptical, since he does not see time as linear the way others do. This scene has the lyrical feel of my favorite piece of fiction, Alan Lightman's almost unbearably beautiful Einstein's Dreams, and the reference to Einstein cannot be ignored.
But the real beauty of Watchmen is the moral diversity of its superheroes. Each is flawed in different ways, allowing us to inhabit different ethical perspectives, intellectually at least, and witness their consequences. Everything from Rorshach's refusal to compromise, which makes him a doomed fugitive, to the ultimate compromise envisioned by Ozymandias, who can dispassionately evaluate scenarios where millions of lives are sacrificed, calls into question our most cherished beliefs. Where does it leave you? Well, that's for you to decide.
From a purely entertainment perspective, Watchmen is stunning. The visuals are state of the art, and do not suffer from the sort of mental rejection I have for some movies that present too many special effects to swallow at once as reality. And Watchmen doesn't suffer from Hollywood's apparent fascination with camp in comic book movies. Camp works to some degree in Spiderman, since he's a somewhat humorous character to begin with. But the excess of camp rendered the Fantastic Four sequel unwatchable. Watchman proves that superheroes can use more subtle forms of humor, such as irony, without devolving into camp for cheap laughs.
And the music, oh, the music. If you didn't grow up in the 60's and 70's, you will surely miss some of the impact, but don't worry. Even a second hand recollection of such iconic tunes will suffice. I am reminded of the painfully awful Across the Universe, which couldn't even pull together a decent movie built around the greatest catalog in modern music. Watchmen does it in spades.
I LOL'd, I cried. The people in the theatre applauded at the end. I vowed to wait 24 hours before writing a review to see if my euphoria passed. It hasn't.
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