REVIEW: WATCHMEN: THE MOTION COMIC

CAST (VOICES)

Tom Stechschulte (The Clairvoyant)

A re-examination of superheroes, done with a bleaker, more realistic point of view, Watchmen was revolutionary when it was released in 1985, and it remains as relevant as ever, despite some dated elements (which are mitigated by the fact that the story is told in an alternate world in a specific time frame.) The Crimebusters were a group of costumed crime fighters in the 1960s, but as the world became more complicated, they became less relevant, and they disbanded, and superheroes were outlawed by the government, leaving only a few government-sponsored adventurers, including the ultra-violent patriot The Comedian and the super-powered Dr. Manhattan, who gained command over reality when he was torn down to molecules by an atomic accident.The main story is a mystery, as the psychotic Rorschach, whose mask is an ever-changing ink blot, attempts to discover who killed the Comedian, who was found dead in his civilian identity. Thinking someone is out to kill the former superheroes, he uses his own brand of ruthless violence, driven by an insane, right-wing mindset, to figure out just what’s going on, drawing in his former teammates, as the truth becomes more twisted and complicated as the story plays out. In the end, the plot is intensely deep, focusing on the choices and mistakes made in life, the meaning of existence, the value of an innocent life and the lengths one will go to in order to achieve their goals, while the story is told using intricate storytelling techniques, interwoven supplemental material and smart literary devices that make it more intelligent and engaging than most novels. That it’s told about guys wearing tights just adds a layer of accessibility and absurdity.This version of Watchmen, which was released episodically on iTunes and elsewhere, is somewhat like an audiobook version, but enhanced with animation that’s built off the actually art from the graphic novel. Now, this was done way back when with some Marvel cartoons, and it was terrible, and has become a bit better recently, but these Watchmen episodes are the best yet. Taking Dave Gibbons’ original art, panel by panel, and doing slight animation effects (and some impressive lighting and special effects work,) Warner Premier allows you to watch the graphic novel, complete with dialogue, music and sound effects.The dialogue, provided entirely by Tom Stechschulte, is really quite good, especially when voicing Dr. Manhattan, though there are a few major exceptions, namely the fact that he also provides the voices for the female characters. Though he thankfully didn’t attempt to imitate a woman’s voice, which would have yanked you right out of the story, it’s highly creepy to hear him seductively purr as Silk Spectre, especially when he’s doing it up against his own voice.You’re never going to see a more faithful “movie” than this presentation, which offers up the 12 chapters of Alan Moore’s story, including the ending that fanboys nationwide were hoping to see on the big screen  Even if you’ve read the book many, many times, it’s a new experience and an entertaining one at that.

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REVIEW: WATCHMEN: TALES OF THE BLACK FREIGHTER / UNDER THE HOOD

 

 

 

TALES OF THE BLACK FREIGHTER

CAST (VOICES)

Gerard Butler (300)
Cam Clarke (He-Man 2003)
Jared Harris (Lincoln)

Watchmen was a great movie, and a great comic-book adaptation . It’s true that the metafictitious Tales Of The Black Freighter comic story was a marvellous little additional plot device which nicely mirrored The Watchmen’s main story and was allegorical of many of the main characters’ – specifically Ozymandias’ – bloody paths to becoming what they most hated, all paved with good intentions. It fitted nicely within the pages of the comic books and all was well-and-good. Tales Of The black Freighter was never likely to make it into the movie-proper though and – as much as those purist geeks may disagree – it is far from an essential part of the story, however much I may personally have liked to see it on celluloid. I was delighted, therefore, when I heard that, so dedicated were Zack Snyder and Co. to providing the closest possible rendering to the source text/art, that they would be releasing a near-coinciding straight-to-DVD animation of Black Freighter.

Tales Of The Black Freighter is, like Watchmen, a painstakingly accurate re-telling of the meta-comic on which it is based, but I’m sure that this time the complaint will be that, when no longer juxtaposed in context to the principal narrative, the once well-timed symbolism somewhat loses it’s impact. They may well be right, of course, and maybe releasing this separately sold DVD – which also includes a well-conceived 1985 period-themed Under The Hood author’s spotlight feature – could be construed as a little cynical when the Black Freighter itself is a mere 20 minutes long, but then if it weren’t made available until bundled with the Watchmen’s DVD release then it couldn’t be viewed as a companion piece until long after the film had left the cinemas.

 

As an addendum to The Watchmen movie, Tales Of The Black Freighter entirely succeeds.

CAST

Ted Friend (Elf)
Stephen McHattie (300)
William S. Taylor (Scary Movie 3)
Matt Frewer (Jailbait)
Rob LaBelle (Jack Frost)
Carla Gugino (Sin City)
Jeffrey Dean Morgan (Texas Killing Fields)
Danny Woodburn (Mirror Mirror)

UNDER THE HOOD

 

DC put together this short documentary as a companion piece extra to the “source” of the film, which itself is a take-off on the in-between chapters of the Watchmen book. Hollis Mason, the original Nite Owl in Watchmen, writes an autobiography chronicling the history of the costumed heroes that are a big deal in the 40s, then becoming less of a “fad” in the 1950s and then being outlawed, all with the prose of who was originally a NYC police officer. It’s a series of interviews done in faux 1970 style TV (even includes a few “vintage” commercials, one of the three actually quite funny), with an interviewer who gets the actors playing the characters to improvise (or maybe it’s all written, I can see that very well being the case as well) on the subjects posed and raised. It’s fun to watch and a little clever. It’s a nice companion to the film.

REVIEW: WATCHMEN (DIRECTORS CUT)

 

CAST

Malin Ackerman (The Heartbreak Kid)
Billy Crudup (Almost Famous)
Matthew Goode (Match Point)
Jackie Earle Haley (Human Target)
Jeffrey Dean Morgan (The Losers)
Patrick Wilson (The Conjuring)
Carla Gugino (Sin City)
Matt Frewer (Jailbait)
Stephen McHattie (300)
Rob Labelle (Jack Frost)
Garry Chalk (Dark angel)
Chris Gauthier (Smallville)
Patrick Sabongui (The Flash)
Agam Darshi (Sanctuary)
Danny Woodburn (Mirror Mirror)

Watchmen was easily the most hotly awaited picture of the first half of 2009, and I’ll readily admit that the dynamic yellow-and-red poster billboards around town generated a charge of anticipation that Savant hasn’t felt in years. That the film was not considered a runaway success doesn’t surprise me. A movie about superheroes that is neither consistently feel-good nor entertainingly funny is a hard sell. Other writers have noted that the Watchmen are relative unknowns in comparison to icons like Spiderman and Superman; there’s less of a built-in audience for them. Describing the Watchmen movie also suggests expressions like “intellectual puzzle” and “non-linear”. Large segments of the audience have little use for narrative complexities and historical irony.

What movie audiences do care about is action, and to compensate Watchmen ratchets up the graphic novel’s considerable violence. Bloody content limited to a single comic panel or two, looks like gore porn when turned into a film sequence.  Even with a few subplots deleted, Watchmen is so complicated that it bears comparison with David Lynch’s noble 1984 attempt to film Dune. Lynch got lost in wall-to-wall exposition and characters reduced to walk-ons. Watchmen avoids the same fate by closely following the original’s highly cinematic structure. Moore and Gibbons’ comic book panels made heavy use of devices familiar to moviegoers — parallel cutting, associative transitions.Watchmen is a multi-generational story of costumed superhero crime fighters. They got their start in the 1940s as “The Minutemen”, later formed another association called “The Watchmen” and then were outlawed in the early 1980s. Most have kept their anonymity in retirement. Nite Owl (Patrick Wilson), Silk Spectre (Malin Ackerman), Rorschach (Jackie Earle Haley), Ozymandias (Matthew Goode) and The Comedian (Jeffrey Dean Morgan) have no super-powers. The one Watchman who does is Dr. Manhattan (Billy Crudup), an “atomic man” who glows a soft blue color. A research scientist transformed into a near demigod by an experiment gone wrong, Dr. Manhattan wins the Vietnam War for Richard Nixon, allowing the President to run for a third term by popular demand. Most of Watchmen plays out as a science fiction alternate history tale, although the film drops a major Sci-Fi element from the final act.In 1985 an unknown assailant murders The Comedian. Defying the ban on costumed vigilantes, Rorschach warns the other Watchmen and puts pressure on the underworld to find out who is responsible. Dr. Manhattan breaks up with Laurie Jupiter (secretly the Silk Spectre) and abandons humanity to meditate on Mars. The Cold War goes into panic mode, as the U.S. and the Soviets are already at the brink of nuclear war, and Dr. Manhattan was America’s defense insurance policy. Laurie and Dan Dreiburg (secretly the Nite Owl) become an item. Frustrated by all the bad news, they ignore the ban and reassume their roles as crime fighters. Laurie and Dan spring Rorschach from prison and begin an investigation that leads to the activities of the millionaire technocrat Adrian Veidt, formerly Ozymandias.That synopsis doesn’t begin to touch the intricacies of Watchmen or its pleasing assortment of superheroes, that collectively flesh out a pantheon of comic book traditions. The Nite Owl is a kinder Batman type, a quiet millionaire who has engineered a flying vehicle and other crime-fighting gadgets. He’s actually following in the footsteps of the original Nite Owl, a two-fisted hero from the 1940s. The Silk Spectre is a Wonder Woman- like beauty with identity issues. She was pushed into her role by her flamboyant mother, the Silk Spectre of the Minuteman years. The corrupt Comedian lost sight of his crimefighting ethics and became a murderer, war criminal, rapist and dirty ops agent for Dick Nixon. The highly intelligent Ozymandias is also a fabulously wealthy international businessman under the name Adrian Veidt; he’s put his crime-fighting past on the public record and even sells Ozymandias toy action figures. Veidt considers himself a modern Alexander the Great.The most interesting Watchman is Rorschach, a seedy misanthrope who wears a strange mask that forms mysterious symmetrical patterns identical to a psychologist’s inkblot test. Now considered an outlaw vigilante, Rorschach keeps a bitter Travis Bickle-like diary and refuses to compromise on his mission to slay criminals. Between them the Watchmen cover numerous approaches to the concept of “masked crusaders” trying to function in a complex world. Director Zack Snyder  epitomizes the modern director who prepares computerized pre-visualization sequences, directs the live action, and waits for his technician-artisans to deliver test composites to critique. Elements that the director once had to make “come together” before a real camera on a real set can now be added, subtracted or altered almost indefinitely; the director of an effects-heavy film now functions as a creative manager. Snyder openly admits that his goal is to faithfully replicate the visions of other artists, which has prompted some to question exactly what he contributes artistically to the show. To the extent that Snyder still casts and directs the actors and decides when and when not to follow the graphic novel, he is actually much more “involved” than were many old-school studio directors. Even the biggest Hollywood names sometimes worked from locked scripts and often had little contact with projects before or after the actual filming. Considering how little opportunity for personal expression the Watchmen assignment afford, Snyder’s done a fine job.In this case, closely following the original was Snyder’s only choice. CGI allows the presentation of almost any visual, and the leagues of Watchmen fans wouldn’t have tolerated detours from their story. Most of Snyder’s adjustments are good ones. The strange sidebar tangent involving a “Black Freighter” horror comic has wisely been spun off into a separate direct-to-video production. To get out from under a mountain of plot complications, Snyder drops Adrian Veidt’s elaborate hoax on humanity that involves murdering an army of technicians that mock up the corpse of a gigantic space alien.Watchmen was somewhat overpowering in the movie theater, precisely because it is so close to the original. Instead of being taken in a new direction, I felt like Snyder was holding the book in front of my eyes and turning the pages for me. But movies of this kind are no longer made to be seen only once, and on a second viewing it was easier to simply watch what was happening, admire the classy designs and marvel at the excellent casting.