Word. As an experience, meeting some friends at the Uptown last night to see Watchmen at midnight-plus-one (though it was more like midnight-thirty-five by the time all those sweetass trailers for Public Enemies and Star Trek and Wolverine and Terminator: Salvation, plus some trailers for other, seemingly less sweetass movies, were done) was, as you say, awesome.
But the movie? Also largely awesome. I think. Certainly I’m looking forward to seeing it again and reveling in all the minute, Blade Runner-level visual detail in which Zack Snyder and his people have rendered this world. And I’ll watch the aleady announced DVD cut of the picture, which reportedly expands the theatrical release’s two-forty run time by another half-hour or so. I do have the feeling this thing might play awfully slowly when I see it again, even though the film’s biggest problem is that its final third just hurtles along too damn fast. Maybe Watchmen would have been better brought to the screen as an HBO miniseries.
Alexandria DuPont diagnosed the movie’s pacing issues with her typical rapier wit and lacerating insight. (She also says that Matthew Goode — who plays Ozymandias as Ziggy Starust-era David Bowie — “dropped a charima bomb” in another movie. Wow.) The other reviews I’ve found insightful today are Roger Ebert‘s and Andrew O’Heir‘s (both strongly favorable), and Philip Kennicott’s (thumbs-down).
io9, Gawker’s sci-fi and comics blog, has a ton of revelatory Watchmen-related posts. In this one, screenwriter David Hayter reveals some of the inane studio-suggested changes he managed, heroically, to prevent.
This one discusses one change Hayter was inclined to make, without even being asked: Going with a much more restrained, less bloody climax than the comic’s. I don’t mean that the specifics, though not the tone, of the ending have been changed — we all know that by now. I mean that the film spares us the book’s long, lingering shots of the apocalypse that befalls New York City. Wanna guess why? 9/11 sapped the will of anybody, even those fully invested in being faithful to Moore and Gibbons’ vision, to put that onscreen. This is one of Ms. DuPont’s big problems with the movie — that “the part where we see and feel the consequences of Veidt’s actions” has been neutered — and you can see her point. But Hayter’s wins, at least for me. If you really want to see these Dave Gibbons drawings rendered in the same kind of photographic fidelity with which Snyder has reproduced so many other panels from the comic, well, you’ve got a stronger stomach than I do.
io9 also gives us a roundup of what elements from the comic have been eighty-sixed entirely. The dumbest one? Laurie’s smoking, one of the behaviors that humanized her in the book. She never lights up in the movie because — says Snyder — Warner Bros. muckety-muck Alan Horn dislikes smoking. Hey, so do I, but that doesn’t mean I’m gonna sit still if somebody tries digitally to pull the butt out of Bogey’s mouth in The Maltese Falcon. After all the battles Hayter and Snyder won — the length, the complexity, the R-rating — smoking is the thing he can’t get through? Alan Horn deserves lung cancer. What an asshole.