F**k Yeah

by **black francis** » Mon Nov 17, 2008 1:35 am

New trailer

<div><object width="512" height="322"><param name="movie" value="http://d.yimg.com/static.video.yahoo.com/yep/YV_YEP.swf?ver=2.2.30"><param name="allowFullScreen" value="true"><param name="AllowScriptAccess" VALUE="always"><param name="bgcolor" value="#000000"><param name="flashVars" value="id=10658091&vid=3920500&lang=en-us&intl=us&thumbUrl=http%3A//us.i1.yimg.com/us.yimg.com/i/us/sch/cn/video00/3920500_rnd0f9a5298_19.jpg&embed=1"><embed src="http://d.yimg.com/static.video.yahoo.com/yep/YV_YEP.swf?ver=2.2.30" type="application/x-shockwave-flash" width="512" height="322" allowFullScreen="true" AllowScriptAccess="always" bgcolor="#000000" flashVars="id=10658091&vid=3920500&lang=en-us&intl=us&thumbUrl=http%3A//us.i1.yimg.com/us.yimg.com/i/us/sch/cn/video00/3920500_rnd0f9a5298_19.jpg&embed=1"></embed></object><br><a>'Watchmen' Theatrical Trailer</a> @ <a>Yahoo! Video</a></div>

by **black francis** » Mon Nov 17, 2008 1:49 am

Never been much of a Muse fan but motherfucker this song rocks

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by **Scouser** » Mon Nov 17, 2008 4:35 am

I love the Watchmen graphic novel and the trailer looks superb...but I suspect they have just gone with the main narrative (someone is killing the Watchmen off one by one) rather than tackle the subplots that set the book apart from other graphic novels. Which would be a shame, but I can understand why.

by **black francis** » Mon Nov 17, 2008 10:00 am

I think I read the DVD will be the three hour cut which should be good news. Unfortunately I've also been reading the ending is drastically different.

by **blinkilite** » Mon Nov 17, 2008 11:37 am

looks awesome... can't wait to see it :biggrin:

by **Scouser** » Tue Nov 18, 2008 4:46 am

colored francis wrote:I think I read the DVD will be the three hour cut which should be good news. Unfortunately I've also been reading the ending is drastically different.

I always thought the ending was a bit of a let down after such a great build up, so I can sort of understand the desire to change it...

by **withahip** » Tue Nov 18, 2008 8:07 am

Why not change it? I've already read the comic - I don't want to see it verbatim.

by **black francis** » Tue Nov 18, 2008 10:03 am

I thought the ending was a bit weak but I was very curious to see how the creature would have translated onto the screen. If a certain mentally unhinged masked hero were to survive the ending I wouldn't complain too much.

by **black francis** » Fri Dec 12, 2008 1:24 pm

2003 David Hayter "Watchmen" script

http://www.sendspace.com/file/dhl9pk

Enough was taken from it that he is getting co-writing credit.

1989 Script by Sam Hamm

http://www.watchmencomicmovie.com/downl ... m-1989.pdf

by **black francis** » Fri Dec 12, 2008 2:04 pm

The Hamm script is weird. Rorschach even lives in the end.

by **tonywojo** » Sat Dec 13, 2008 3:07 pm

withahip wrote:Why not change it? I've already read the comic - I don't want to see it verbatim.

Hero

Verbatim is such a great word

But not as good as

Stalwartian

Right on

by **black francis** » Wed Jan 21, 2009 2:01 pm

Saw the above preview on the big screen while waiting for Grand Torino and after watching a bunch of shit previews before hand announced to the audience after Watchmen "now that's a preview". I am definitely doing a midnight March 5 showing.

Grand Torino was pretty bad ass. I am ready to proclaim Clint Eastwood as America's greatest living director. While Ron Howard's career may be eagerly awaiting Eastwood's death, I hope he's around for a long time to come.

by **black francis** » Thu Jan 22, 2009 12:13 pm

by **black francis** » Thu Feb 12, 2009 2:04 pm

Watched the Simpsons episode with Alan Moore. Genius.

by **black francis** » Fri Feb 27, 2009 2:35 pm

Crap review of Watchmen from someone who obviously doesn't get the point it isn't supposed to be your typical comic book hero film.

The fight scenes don't hold a candle to Asian action? That's the point you fool.

Watchmen" turns superheroics into campy soap opera

By Kirk Honeycutt

LOS ANGELES (Hollywood Reporter) - It's not easy being a comic-book hero these days. The poor boys have taken their lumps in "Hancock," "The Dark Knight" and even "Iron Man." Self-doubt, angst and inadequacies plague them. And now comes "Watchmen." Its costumed superheroes, operating in an alternative 1985, are seriously screwed up -- and so is their movie.

As stimulating as it was to see the superhero movie enter the realm of crime fiction in "The Dark Knight," "Watchmen" enters into a realm that is both nihilistic and campy. The two make odd companions. The film, directed by Zack Snyder ("300"), will test the limits of superhero movie fans. For anyone who's not already invested in these characters because of the original graphic novel by Alan Moore and Dave Gibbons, nothing this movie does is likely to change that predicament.

That's bad news for Warner Bros. and Paramount, which hold domestic and international rights, respectively. Opening weekends everywhere will reflect the huge anticipation of this much-touted, news-making movie, which opens March 6 stateside. After that, the box-office slide could be drastic.

Snyder and writers David Hayter and Alex Tse never find a reason for those unfamiliar with the graphic novel to care about any of this nonsense. And it is nonsense. When one superhero has to take a Zen break, he does so on Mars. Of course he does.

The film opens with a brutal killing, then moves on to a credit-roll newsreel of sorts that takes us though the Cold War years, landing in 1985, when Nixon is in his third term -- tipping us that we're in an alternate 1985 America, where our superheroes have taken care of Woodward and Bernstein and other forces have evidently taken care of the U.S. Constitution.

The opening murder happens to a character called the Comedian (Jeffrey Dean Morgan), who was once a member of a now-banished team of superheroes called the Masks. Fellow ex-Mask Rorschach (Jackie Earle Haley), his mask one of perpetually shifting inkblots, takes exception to his old colleague's death. He believes the entire society of ex-crime-fighters is being targeted even as the Doomsday Clock -- which charts tensions between the U.S. and the Soviet Union that could lead to nuclear war -- nears midnight.

His investigation and renewed contacts with former buddies fill us in on the complicated histories and problematic psychiatric makeup of these colleagues.

It's all very complicated but not impenetrable. We pick up the relationships quickly enough, but soon realize these back stories owe more to soap operas than to superhero comics.

These aren't so much superheroes as ordinary human beings with, let us say, comic-book martial arts prowess. The one exception is Billy Crudup's Jon Osterman, aka Dr. Manhattan, who in true comic-book fashion was caught in a laboratory accident that turned him into a scientific freak -- a naked, glowing giant, looking a little bit like the Oscar statuette only with actual genitals -- who has amazing godlike powers.

These powers are being harnessed by an ex-Mask, Matthew Goode's menacing and slightly effeminate industrialist Adrian Veidt.

When Dr. Manhattan's frustrated girlfriend, yet another former Mask, Malin Akerman's Laurie Jupiter, can't get any satisfaction from Dr. M, she turns to the former Nite Owl II, Dan Dreiberg, who seems too much of a good guy to be an actual superhero, but he does miss those midnight prowls.

The point is that these superheroes, before Nixon banned them, were more vigilantes than real heroes, so the question the movie poses is, Who is watching these Watchmen? They don't seem much different from the villains. Which also means we don't empathize with any of these creatures. And what's with the silly Halloween getups?

The violence is not as bad as early rumors would have one believe. It's still comic-book stuff, only with lots of bloody effects and makeup. The real disappointment is that the film does not transport an audience to another world, as "300" did. Nor does the third-rate Chandler-esque narration by Rorschach help.

There is something a little lackadaisical here. The set pieces are surprisingly flat and the characters have little resonance. Fight scenes don't hold a candle to Asian action. Even the digital effects are ho-hum. Armageddon never looked so cheesy.

The film seems to take pride in its darkness, but this is just another failed special effect. Cinematographer Larry Fong and production designer Alex McDowell blend real and digital sets with earthen tones and secondary colors that give a sense of the past. But the stories are too absurd and acting too uneven to convince anyone. The appearance of a waxworks Nixon, Kissinger and other 1980s personalities will only bring hoots from less charitable audiences.

Looks like we have the first real flop of 2009.

F**k Yeah

F**k Yeah

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