Even in the face of Armageddon, Watchmen doesn’t compromise.

The clock has finally ticked down to the release of Watchmen, directed by Zack Snyder. Fanboys (and girls) drooled over trailers and prayed to the comic book gods that Watchmen—based on the highly regarded graphic novel of the same name—would be a hit true to its brilliant source. And for the most part, the film succeeds magnificently.

Originally created by the revered writer Alan Moore, Watchmen’s formidable science-fiction tale proved a stunning masterpiece in combination with Dave Gibbon’s incredibly detailed and layered artwork. First released in 1986, the comic broke new ground with a technique that surpassed the conventional limitations of the page. The story unfolds at the end of the Cold War era and begins with a death that ripples through the rest of the novel. The Comedian has died, and the detective-like character named Rorschach believes that someone is targeting the retired group of masked heroes called the Watchmen. Although the others look upon him merely as a paranoid lunatic who still hides behind a mask, they start to change their minds once the attacks become more than just coincidence.

Because the graphic novel is half-told through flashbacks that reveal the characters’ origins, the basic concern about the movie lies with its organization. The film can be traced practically scene-by-scene from the comic, which is great news for die-hard fans. Much of Rorschach’s narration, for example, draws straight from its original form; the rest of the movie follows suit. So considering the heavy incorporation of flashbacks could have easily become a mess when translated to the big screen, scenes are handled quite well. The opening credits sequence takes awhile, but that much needed exposition serves the important purpose of easing the audience into not only the in-world history of the comic and the era in which it occurs, but how the two blend together. The story functions, after all, as an alternate history.

Although Watchmen matches up to its source roughly three-fourths of the time—a feat responsible for its two hour and forty-three minute theatrical length—some things are altered. Thankfully, none of the changes interfere with the intended context of the graphic novel. The biggest issue surrounding the movie before its release was whether or not Zack Snyder’s most profound change to the story would ruin the overall experience. Those of you who are familiar with the buzz of Watchmen know what I’m talking about involves a certain tentacled friend. However, while the means might be different, the outcome proves the same. Snyder actually pulls a wise move a la Christopher Nolan—the alteration is necessary to ensure a smoother transition from the comic to film. It works just as well and the movie betters for it.

Moreover, the sort of social commentary that Watchmen raises can be seen throughout the movie via the use of extended dialogue scenes; that extra input makes many of the book’s messages a lot clearer to the audience. Not to say that viewers can’t pick up on the themes without reading the book first; film simply operates somewhat differently than comics do because of the change in medium. Also, Snyder mixes in new scenes that breathe a sort of revitalizing life into the story while still paying due tribute to Moore. I loved seeing Rorschach make a stop at psychologist Malcolm Long’s office to reclaim his “face.” In addition, the fight scenes last longer and leave a more satisfying aftertaste, even if the gory violence is highlighted probably more than some people liked. A few instances could be called gratuitous, but luckily it all works with the novel’s themes. The sickening bone-snapping in the alley fight may have been embellished, but the prison showdown between Rorschach and the criminals emerges straight off of the pages of the comic in all its bloody glory.

The actors portrayed the full dossier of Watchmen’s characters perfectly. Laurie Jupiter (played by Malin Akerman) was fiery and just the right level of flirtatious; Dan’s (Patrick Wilson) sweet nature and shift between insecurity and confidence shone through exactly like it did in the book. The most enjoyable performance for me, though, comes from the actor who plays my favorite character. Jackie Earle Haley truly nails Rorschach—from the way he talks and acts down to his trademark “hurm.” And visually, the movie version of Walter Kovacs looks just as ugly as in the comic.

The Black Freighter story—while an integral part of the Watchmen experience—wouldn’t have worked on the big screen, so I’m glad it was left out (especially since it’s being released as a separate movie tomorrow). And as a side note, choosing to play the My Chemical Romance’s remake of “Desolation Row” over the end credits was a smart move—a modern band just wouldn’t have fit during the movie.

There’s not much I didn’t like about the film, but there are several things that fall a bit short. Watchmen progresses a bit sluggishly for the first third or so of its running time; since it directly follows the book, not much blame can be assigned to the movie. On the other hand, a few key scenes were cut in half: Laurie and Dr. Manhattan’s conversation on Mars and the showdown with Ozymandias, particularly. I would have liked more instrumental music, but I appreciate the decision to include songs from that time period. Personally, I was disappointed that what is probably my favorite Rorschach moment didn’t make it into the movie when nearly everything else involving the character did. The part where he jumps out of the fridge always cracks me up, but I guess Snyder doesn’t love that humor as much as I do. Oh, well.

Of course, all my “complaints” are sort of trivial, but there are some things in the movie that bug me. There is no reason Laurie couldn’t have been seen smoking like she frequently does in the book. The movie is definitely explicit in many ways—but smoking pushes things over the edge? Snyder probably could have eased up on the sex and slow-motion, too. Not to mention that Nite Owl plays the role Dr. Manhattan was meant to at the end. In the book, Dr. Manhattan spurs guilt and self-doubt in Veidt by saying, “Nothing ever ends.” It would have been a lot clearer and more effective if that part had been left alone. I understand that Nite Owl acts as a vehicle for additional commentary during that scene, but Snyder could have accomplished the same effect while keeping the “oh, crap” moment for Ozymandias as profound as it is in the graphic novel.

But one thing stood out the most for me. The movie addresses practically everything in the book except Hollis Mason’s brutal death. Whaaat?! There’s just no excuse for snubbing Hollis when the rest of the film pays homage to so much else.

Bottom Line: Zack Snyder may not have made Watchmen entirely his own, but he does add a refreshing flair to the film that gives it a modern style. In fact, I think I would have been upset if he had done the opposite. I’d rather have the adaptation—in the case of a masterpiece like Watchmen, at least—stray as little from the original source as possible. At the same time, however, that advantage is also the movie’s weakest point. Snyder chose not to take any serious risks with the Watchmen film, so the result is exactly like turning the pages of the book. Having read the graphic novel prior to seeing the movie, I just couldn’t feel as much excitement as I did with The Dark Knight, for instance. Watchmen presents such a self-contained story, whereas the openness of the Batman and other comic book worlds provide endless opportunities for creativity.

Still, the special effects display beautifully and crisply, making the viewing experience incredible. It’s amazing how real and tangible Dr. Manhattan looks, or how vivid Mars appears. There are plenty of differences between the film and the graphic novel, but thankfully none of them have a dramatic impact—most of the changes are minor. Overall, it’s wonderful to see the graphic novel brought to life so consciously and fluidly.

Watchmen
Warner Bros. Pictures
Rated R for strong graphic violence, sexuality, nudity and language
Running Time: 163 minutes

Credits
Director - Zack Snyder
Writers - David Hayter and Alex Tse
Original Music - Tyler Bates
Laurie Jupiter/Silk Spectre II - Malin Akerman
Dr. Manhattan/Jon Osterman - Billy Crudup
Adrian Veidt/Ozymandias - Matthew Goode
Walter Kovacs/Rorschach - Jackie Earle Haley
Edward Blake/The Comedian - Jeffrey Dean Morgan
Dan Dreiberg/Nite Owl II - Patrick Wilson

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