Anyone else find that highly unnecessary and hilarious? In the background there was that Alleluia song, that was hilarious. Then when the orgasms came the fire came out of the ship:lol: I mean come on, highly unnecessary and I think the movie would have been better without it, it was like a soft core porno for a little bit.
I admire its grim humor, utilitarian philosophical themes, unique universe and especially its well-choreographed and shot action sequences, which play out balletically in the sort of long, patient shots that are so unusual to see in modern action. There is, however, one scene of Watchmen that I can readily admit is unabashedly terrible. You need to watch it.
Manhattan Story : Based on a Novel. In an alternate world based aroundRichard Nixon is president and the Cold War continues. Other fellow crime fighters rise to find his killer.
It was a groundbreaking superhero comic, but not something you could ever turn into a movie. Everyone said so. Then Zack Snyder came along. It's a damp, vaulted space packed with avian-themed costumes and machine tools, a boys'-own-adventure clubhouse.
They take a sad little nap on the sofa instead. In the comic, when Nite Owl puts on his costume for the first time in a decade, his middle-aged paunch hangs over his utility belt. When the vigilante Rorschach is taken down by the cops, they chortle at his elevator shoes.
The movie — the hottest teen thing since, well, the last hottest teen thing — is rated R. My year-old saw it at the midnight show last night and said it was over-the-top brilliant, and over-the-top violent. My colleague A.
The plot is almost exactly the same as the comic, save for a completely different explanation of the ending, with dialogue and scenes lifted almost shot-for-shot at times. This in itself has been a point of debate among fans and critics: some like the fidelity; others would have preferred a more Pragmatic Adaptation ; others still don't think it's faithful enough. A textbook example of the phrase; "You Can't Please Everyone".
To acolytes of Alan Moore's genre-transforming graphic novel, Zack Snyder's big-screen adaptation of Watchmen represents geek nirvana. It is uncompromisingly violent and sexualised, just as the comic book was, and it remains, at its heart, an examination of superheroic existential dread, a topic not previously known for packing out multiplexes. The relief is palpable in fanboy circles.