Director Zack Snyder is beginning to look like the best thing to happen to the action movie in this decade. His previous film, "300," took the battle of Thermopylae and re-created it, combining stylized visuals with a feeling for history, culture and character. His new picture, "Watchmen," follows in the same vein, but goes deeper, achieving a psychological sophistication that "The Dark Knight" aimed for but didn't quite reach.
Other directors shake the camera to instill excitement. Snyder meticulously choreographs action scenes and thrills audiences with his inventiveness. Other directors go in for brutal realism. Snyder goes in for brutal surrealism, adding little visual grace notes that comment on the action and allow for audience distance. These touches, some of them genuinely odd but strangely right, show an unconscious engagement with the material, the work of a director not going through the motions but pulling from all sides of his brain.
He had a strong advantage going into "Watchmen," an audacious adaptation of the graphic novel of the same name. In their screenplay, writers David Hayter and Alex Tse don't do the usual thing of pounding the novel into something simple and linear. Instead they give us a story with lots of digressions and spin-off narratives. In one scene, at a funeral, the movie's forward motion completely stops for a series of flashbacks in which various people recall their contacts with the deceased. These scenes and others like them explore character - and with no apology coming in the form of an action orgy minutes later.
One could say that the filmmakers' strategy in "Watchmen" is to try to hold the audience's attention, not with a great story (the story is just OK), but with great scenes, one after the next. That's the ultimate risk in any narrative art: It means that the contract for an audience's engagement is up for renewal at the end of every sequence. Yet Snyder and company keep closing the deal. They keep the ball in the air for an epic 163 minutes, by attending to the drama within scenes and by nurturing the film's pervasive mood - despair and nihilism.
That mood descends during the opening credits. Through a mix of archival and manufactured footage, we get the back-story of "Watchmen" through flashes - an alternate history in which masked heroes have been part of the urban landscape for decades. The effect of this credit sequence can't be overstated: It presents, in fictionalized form, the mid to late 20th century as an endless slog of wars, assassinations and mass deceptions. Within minutes, the viewer has been infused with a sense of life on earth as chaotic and hopeless.
It's 1985. Richard Nixon is still president, the Soviets are threatening nuclear war, and a serial killer is threatening two generations of masked heroes, who were once important figures on the American scene. Now disbanded and back in private life, the various heroes, to different degrees, try to discover who is after them. Along the way, they uncover more serious plots and threats to civilization.
Unlike the case of "The Dark Knight," there are no performances here that we'll be talking about at Oscar time, but the ensemble is excellent, with Patrick Wilson as a Batman-like figure, who's shy except in his bat suit; Malin Akerman, as the woman torn between him and her increasingly remote lover - a shape-shifting, radiation altered superman (Billy Crudup); and Jackie Earle Haley as Rorschach, the gruffest, meanest little guy anywhere.
Hard-bitten, weary and contained, the performances reinforce the somber mood. Action scenes, when they happen, are bold and striking, but they're kept to a minimum. As the story isn't the movie's strong suit, it's no surprise that the climax is mild by action movie standards - just an intelligent resolution, then the credits.
The appeal of "Watchmen" is really about something else - the sight of a blimp passing by the twin towers, as seen from an office window. It's about the uneasiness we feel when we see those towers resurrected in an alternate universe. Part conscious and part unconscious, "Watchmen" tells us of a world without hope and then makes us wonder if we're already living in it.
-- Advisory: This movie contains simulated sex, nudity, strong language and graphic violence.
Main link: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/03/06/MV5M16993S.DTL