Tag Archives: Jeffrey Dean Morgan

Amy Canaan Mann’s Texas Killing Fields

Whenever people say there isn’t enough gritty, messed up modern neo-noir (which there’s some truth to, but that’s another article) I like to dig up ones like Texas Killing Fields, an unforgivably overlooked crime drama from some years back that went by mostly unnoticed. Directed by Amy Canaan Mann, who is none other than Michael Mann’s daughter, and starring a talent trio of Jeffrey Dean Morgan, Sam Worthington and Chloe Grace Moretz, it’s a dark-boned, nihilistic murder mystery set in the deepest south and populated by the kind of folks you’d actively avoid entire sections of the barroom to get away from. There’s a killer loose in the low income doldrums of Texas, as if they didn’t have it bad enough in life, and two scarily mismatched cops are on the case. Intrepid idealist Morgan sees the light in darkest corners, while faithless misanthrope Worthington adopts a hopeless, devil may cry attitude. Caught between them is a wayward teen girl (Moretz), a homeless sitting duck who wanders the byways, a prime target and unfortunate default bait for this monster to come skulking out of the shadows. This is a downbeat, chilling flick with scant rays of humanity here and there, but bleakness takes over the screen like the portentous clouds in the storm-swept skies of the rural Americas, bringing danger and decay in their wake. The suspect list is a mile long because of how many wicked character actors there are in the supporting cast, but the culprit is oddly obvious from the get go. This isn’t to say the narrative is weak or they failed at a whodunit, as one can scarcely say that was there intention at all. It’s less of a whodunit and more of a ‘dunit’, as every character has some evil to hide or stain on their soul, and when the killer is revealed, they’re just another in a long line of wayward beings out there. Sheryl ‘Laura Palmer’ Lee is great as Moretz’s destitute, promiscuous mother, Jason Clarke roars in for a terrifying cameo as a violent pimp with an otherworldly blond dye job, Stephen Graham is dangerously quiet as a psychopathic local yokel, Annabeth Gosh has a brief role and Jessica Chastain gives an early star-making turn as an out of state cop who reluctantly aids Jeffrey and Sam. Dread is the word that seems to be on both Mann and her cinematographer Stuart Dryburgh’s mind, as every shot is composed primarily of darkness, shadows and claustrophobic grain, giving the fields and flatlands of Texas a hellish, oppressive lacquer. Darkness is explored both literally and thematically, and more fervently than most mainstream films care to get, which may be one reason the film wasn’t well received at all, or at least by most. It knowingly plunges headlong into the eye of the hurricane surrounding the hopeless heart of humanity, without much light on the other side or any to guide it, but there’s a bravery in that that I respect. One of the best crime dramas in recent history, a film that should be brought up more in discussion and a treatise on how to make a lasting impression in a genre that sees entries fall through the cracks on the daily. Brilliant, searing stuff.

-Nate Hill

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P.S I Love You


P.S. I Love You is pretty grounded, affecting stuff as far as romantic dramadies go, a sorrowful story that’s light on sap and earns your tears. It’s sad, to be sure, but that’s a necessary element to balance out any otherwise happy-go-lucky narrative, which is something many forget when making these types of films. Jarringly soon after we meet adorable and slightly dysfunctional couple Gerry and Holly (Gerard Butler & Hilary Swank), Gerry passes away, leaving her bereft and broken, but not necessarily alone. Knowing of his illness beforehand, he’s left a series of love notes that lead her on a scavenger hunt, each new note and following action geared towards easing her pain, saying goodbye and trying to help her start a new life. Although consoled by her two caring friends (Gina Gershon & Lisa Kudrow) as well as her mother (Kathy Bates) this is Holly’s solo journey at heart, a meditation sent from the afterlife by the world’s most thoughtful husband, unconventional in his methods yet intuitive to his last breath. Losing a loved one, especially your other half, is a kind of pain one could never fathom unless, heavens forbid, we find ourselves in that situation one day. Holly and Gerry didn’t always work well, as we see in a few of the haughty flashbacks, but their love for each other was real, and the subsequent pain on her part is palpable in Swank’s performance, which must be no easy task. A trip to Ireland, an encounter with a handsome stranger there (Jeffrey Dean Morgan), flirting with a kindly potential suitor (Harry Connick Jr.), she circles many endeavours in her time after his passing, all part of a grieving process and a desire on deceased Jerry’s part that she live her life, remember him yet not fall into an abyss of chronic grief and let it stall her, which happens to some. It’s a sweet and good-natured way to tell a very grave, emotionally corrosive story, but like I said before, it’s never manipulative or deliberately mushy, it lets the story push your buttons naturally, until the floodgates on your tear ducts are opened by observing the story and characters, not connived by soap opera histrionics or tacky melodrama. A beautiful little film that makes you deeply sad, but also puts in an effort to cheer you up along the way, just like Gerry does for his Holly. 

-Nate Hill

Solace


Serial killer films are a dime a dozen. Literally, you can’t browse ten titles in a thriller subcategory without running into at least, like, three. Within this ever popular area, there’s also the ‘psychic assisting law enforcement to catch a killer’ motif that pops up now and again, more so on television than film, but it’s there. Solace takes a crack at that, and speaking of that particular idea, the first thing I was reminded of was NBC’s Hannibal. This is one stylish flick, in the same way the series is abstract, using sharp, slow motion close ups paired with crisp audio to create a surreal image of something mundane, clues in a seemingly innocuous environment. Anthony Hopkins plays the clairvoyant here, a guy with demons in his past who sometimes consults on cases with his longtime FBI friend (a haggard looking Jeffrey Dean Morgan). There’s a new killer in town, town being Atlanta, one that causes Morgan to drag him out of consultation retirement and have a go at the case, along with his rookie partner (Abbie Cornish, turning in one damn fine performance). Not all is as it seems here, and when the murderer does finally show up it’s clear that he isn’t your garden variety serial slasher, and has an agenda that goes deep into some moral issues, the one place where the script strives for depth beyond the procedural template. He’s played by Colin Farrell of all people, which is a perfect example casting against type that works. Usually it’d be some sinister looking character actor or genre snake playing the role, but by giving it to a leading man of Farrell’s caliber, they’ve achieved some gravity, and he’s brilliant. Now, this isn’t what I’d call a great film, it has it’s inconsistencies, multiple snags in pacing and one convoluted plot for the first two acts. But it’s quite the fascinating effort, one with a dense, thought provoking story to tell, every performer pulling their weight impressively. And like I said, there’s style to go around.  

-Nate Hill

B Movie Glory with Nate: The Courier

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The Courier is a strange little flick that dabbles in the kind of pulpy narrative which the 80’s were famous for. One lone antihero sets out to deliver a package of enigmatic value to a recipient that is always one step ahead of him, proving to be quite elusive. Bad guys and gals hinder him at every turn and violence ensues, leading up to an inevitable confrontation and in this case a neat little twist that admittedly defies any sort of reason, yet is fun for the actors to play out and provides sensationalism, a trait that’s commonplace in such films. Jeffrey Dean Morgan is a haggard presence in any role, a guy you immediately feel rooted to in a scene. He gets the lead role here, playing an underground criminal courier, passing along dangerous goods from one cloak and dagger person to another. His latest task comes from his handler (Mark Margolis): Deliver an odd case to a reclusive criminal mastermind known only as Evil Sivle. Little information is given beyond that, but it soon becomes apparant that his mission is a cursed one, as he finds himself a hot target for all kinds of weirdos. German live wire Til Schweiger plays a dirty federal agent who hassles him with that campy charisma and narrow eyed theatricality that only he can bring to the table. Miguel Ferrer and Lilli Taylor are priceless as Mr. & Mrs. Capo, a pair of married contract killers who discuss their dinner plans whilst hunting their quarry, and have devised some truly vile torture methods involving culinary instruments. Yeah, it’s that kind of movie, where B movie mavericks are let off the chain and allowed to throw zany stuff into their otherwise pedestrian material that often borders on experimental. Morgan is assisted by a young chick (Josie Ho) who saves his ass more than a couple of times. Mickey Rourke shows up late in the game as Maxwell, a mysterious Elvis impersonator and Vegas gangster who plays a crucial role in Courier’s quest. Trust Rourke to take a derivitive, underwritten supporting character and turn the few minutes of screen time he has into utter gold that elevates his scene onto a plane which the film as a whole is sheepishly undeserved of. Morgan is better than the flick too, but he’s great in anything. He ducks the heroic panache of the action protagonist and dives into growling melancholy, his grizzly bear voice and imposing frame put to excellent use. This one got critically shredded upon release. Yeah it ain’t great, but it sure as hell ain’t terrible. Worth it for a cast that makes it work, and for that classic genre feel that can’t be beat.

Batman Vs Superman: Dawn Of Justice – A Review by Nate Hill

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Batman Vs. Superman: Dawn Of Justice. Wow. Where to even start. What a symphony of scorched earth heroics, a two and a half hour maelstrom of thundering action, introspective gloom and very current vibes of apocalyptic dread. I’m not sure if I was watching an entirely different film from some of these bitter bottomed critics who are maiming it with inaccurately nasty reviews. Balls to them. Zach Snyder should be proud of this achievment, for in the face of both ruthless odds and rabid fans who would make any one of us piss down our legs at the thought of ‘getting it right’, he has mounted a titanic epic of a superhero flick, hitting all the right notes and fuelling both casual moviegoers and salivating super fans with a rekindled love for comic book films. A much welcomed grit and violent edge creeps into the proceedings here, a tone which Snyder has a passion for and is incredibly deft with. We begin with a visually arresting opening credit sequence, which Snyder previously perfected to hair raising brilliance in Watchmen, a ten minute opus set to Bob Dylan. Here he inter cuts shots of young Bruce Wayne, both discovering the prophetic swarm of bats and on the fateful night of his parents murder, a sequence done over a thousand times in film, but never quite with the inventive flair used here. We then arrive with adult Bruce (Ben Affleck) in Metropolis right as it’s being ripped to shreds by the Def Jam smackdown match of Superman (Henry Cavill) and Zod (Michael Shannon). There’s eerie shades of 9/11 as Bruce darts through the ashen rubble, attempting to save the employees in one of his towers. One senses the fear and rage in Wayne right off the bat (pun intended). He glowers in seething fury at the man of steel, primally threatened and haunted all over again by loved ones he couldn’t save a second time around. This film addresses the ludicrous amount of destruction that Superman wrought upon Metropolis in several ways. Political nerve endings are fried as Senate and State alike get hostile towards the god in the red cape. No one is more aggressive than Batman, though. This brings me to Affleck as Batman. Without a doubt my favourite cinematic incarnation of the caped crusader, and his debonair counterpart to date. Yes, even more so than Bale. Nolan’s The Dark Knight is still tops for me, but the  portrayal of Batman by Bale didn’t strike as harmonious a chord with me as Affleck. It just didn’t feel like pure Batman, it was real world Batman. Affleck feels much more rooted in the comics, and God damn it all if he isn’t the most savage, violent Bats to come our way, well… ever. I’ve always been bothered by the nagging fact that Batman refuses to kill. Even in in a beatdown he could easily inadvertently cause death, so why bother trying? Here, he doesn’t go out of his way to deliberatly kill, but he sure has no problem brutally breaking bones and stabbing his adversaries without an iota of faux-noble hesitation. That’s the kind of Batman I want to see. Fuming, fired up and full of rage demons that erupt into fantastic action scenes. One sequence involving a room full of thugs is just jaw dropping and probably my favourite sequence of the film, even over the titular smackdown with Superman. There’s an earthy, simplistic take to him as well, with a modest suit that gives nods to Frank Miller and even Batman: The Animated Series. He is by far the elemental force that the character should be, and the part of the film that I connected with most. I hope he gets his standalone film real soon. Henry Cavill has grace and intuition as Superman, and a surprisingly earthly aura as Clark Kent, in a fit about Batman’s vigilante tactics. He’s the outsider here, an orphaned deity truly trying to do his best in a world that often shuns him in fear. He was never my favourite superhero, or even on the list, but Cavill combined with Snyder make him a force to be reckoned with, and a hero I can get behind. The two eventually meet in a remarkably choreographed clash of the titans, a duel that really only lasts a few minutes and isn’t central theme, which raises questions in my head about the first part of that title. Their fight is composed of Batman’s hard hitting, blunt force physicality pitted against Superman’s fluid, elegent invincibility which is satisfyingly put to the test by the appearance of a certain green mineral we all know about. The James Cameron-esque suit Batman wears for the fight is a grinding wonder that looks like it weighs a metric ton and could level buildings alongside the man of steel. The combat feels urgent, from the gut and roars into action perfectly. Of course, that isn’t where the fireworks stop, but I ain’t sayin any more than that. Gal Gadot is truly wonderful as Wonder Woman, I also can’t wait for her solo outing, and wish she’d been in the film more. Her much talked about entrance is the definition of crowd pleasing, and will make you cheer in approval, which I did out loud. She’s  endlessly gorgeous, and has the toughness to go along with it, a great casting decision by anyone’s tally. Jesse Eisenberg wowed me as a young, jittery Lex Luthor, in what is probably the most clinically insane portrayal thus far. Forget bumbling Gene Hackman and hammy Kevin Spacey, this guy seals it for me. There’s a true madness to his Lex, which when given enough money and resources can have cataclysmic results. It’s a villain  to remember, and Eisenberg exudes palpable danger from every pore, his psychopathic sheen of logic barely shrouding the mania beneath. Jeremy Irons is a more restrained, jaded Alfred who is still unconditionally supportive of Wayne, but is reaching the end of his rope which is tethered to pure world weariness. He gets some of the only humerous bits of the film, albeit of dry, brittle variety. Amy Adams is reliably terrific, her eyes pools of perception that mirror the horror and spectacle of the events through the mind of a human, with every ounce of nerve and courage as those around her that have superpowers, or expensive toys. Diane Lane is weathered wisdom and maternal compassion as Martha Kent, nailing her scenes with the small town, kindhearted patience that a film this noisy deserves, tipping the scales to provide occasional serenity in the eye of the hurricane. Kevin Costner makes a brief appearance in one of the films numerous and often confusing dream sequences. He was a highlight in Man Of Steel, and brings the same baleful, gruff adoration here, in a wonderful but brief scene with Clark. Laurence Fishburne is another source of rare humour as the perpetually exasperated Perry, CEO of the Daily Planet. Aggravated and cheeky, he commands every frame he’s in and had me chuckling no end. Holly Hunter has forged a career of playing no nonsense hard asses, here a ballbreaking US Senator here who shares a moment of distilled intensity with Luthor proving that Superhero films can have some of the best written dialogue. Harry Lennix makes great use of said writing too as the steely Secretary Of Defense. Callan Mulvey and Scoot McNairy are memorable in supporting turns. Listen hard for Patrick Wilson and Carla Gugino, and look for a certain ocean dwelling dude in the briefest of moments. Jeffrey Dean Morgan also has a cameo that’s almost too good to be true. Hans Zimmer and Junkie XL, who was so top notch with Mad Max: Fury Road, combine efforts for a score that knocks it out of the park and several miles further. Batman has a soul rousing battle cry of an overture, with subtle shades of Zimmer’s work on the Nolan films, built upon to give us something truly unique and fitting for the character. Lex Luthor is accompanied by a fitful cacophony of strings that sound like the Arkham Asylum charity orchestra having a collectively unnerving seizure. My favourite riff though I think is for Wonder Woman, a deviously disarming jaunt that strays from the grandiose, baroque theme and feels wickedly subversive, getting you just so pumped for her character. Zimmer’s work on Interstellar made it my top score of 2014, because he leapt out of the box of his usual tricks and gave us something we’d never heard from him before. Here he shreds that box with ingenuity and creative output, a varied, explosive piece that assaults your ears splendidly. My one concern with the film was a dream sequence midway through concerning Batman, and anyone who’s seen the film knows what I’m talking about. I’m sure comic book fans have some point of reference or context regarding it, but the casual viewer doesn’t, and a little more explaining would have been nice. I will say though it showcases Batman in an entirely new light which took me off guard nicely. This is what a superhero movie should be, plain and simple. Big, bold, audacious, stirring and full of high flying action, dastardly villains, conflicted heroes clashing like the ocean tides and a sense of pure adventure. Forget what the critics are saying, this one comes up aces in all categories and is a perfectly wonderful start to the stories of a group of characters that I look forward to seeing in many a film to come. Especially Affleck’s Batman.

WATCHMEN – A REVIEW BY J.D. LAFRANCE

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To say the Watchmen film (2009) had a long and checkered production history is a massive understatement. Originally a 12-issue mini-series written by Alan Moore and drawn by Dave Gibbons that was released in 1986, it was a revisionist superhero story about a mysterious assassin killing off costumed superheroes but this is merely a springboard for a brilliant dissection of the genre and comics in general by manipulating symbols and icons. It also addressed the fear of nuclear annihilation that was so prevalent in the 1980’s. The series was a critical and commercial success despite Moore and Gibbons’ intentions for it to act as an epitaph to the superhero genre and ended up revitalizing superhero comics and spawned numerous rip-offs. It wouldn’t take long for Hollywood to come calling.

In 1989, just after he finished making The Adventures of Baron Munchausen, Terry Gilliam was approached to direct a film version of Watchmen by producer Joel Silver. Sam Hamm (Batman) wrote the screenplay, which by all accounts was awful. So, Gilliam discarded this draft and wrote his own with Charles McKeown (his screenwriting partner on Munchausen). Gilliam felt that the mini-series was unfilmable as a traditional two-hour film. The biggest problem lay in the financing. According to Gilliam, Silver said that he had secured a $40 million budget but in actuality he only had about $24-25 million. In 1996, after the success of 12 Monkeys, Gilliam was asked again and turned it down.

Nothing happened with the project for many years until it was announced that screenwriter David Hayter (X-Men) had signed a seven figure deal to adapt Watchmen for the big screen and possibly even direct it for Universal. Larry Gordon, who had long held the rights to Watchmen was going to produce the film. Originally, Hayter pitched Watchmen as a mini-series for HBO but the cost would have been an estimated $100 million. His way to condense the mini-series into a two-hour film was to break down the story points into their main components.

Filming was to being in Prague sometime in 2004; however, the option was picked up in April 2004 with Darren Aronofsky (Black Swan) being named as the director for Revolution Studios. By July, the project had moved over to Paramount when the deal fell through with Revolution. However, by early November 2004, Aronofsky was off the project due to scheduling conflicts with pre-production on The Fountain (2006). Paramount’s insistence on getting Watchmen out in theaters by summer of 2006 forced them to find another director fast. In late November of 2004, they picked Paul Greengrass (The Bourne Supremacy) to direct using Hayter’s script. It did not take long for problems to arise when in April 2005 Paramount was looking to cut the film’s budget by 20% while Greengrass was immersed in pre-production at Pinewood Studios in London, England. One of the reasons cited was the exchange rate of the U.S. dollar to the British pound. However, the studio put the project in the dreaded turnaround (i.e. development hell) in June of the same year because of change of studio heads and the new one felt that the budget for such a risky project was too high.

Finally, in 2005, the film’s producers took the project to Warner Bros. and approached Zack Snyder to direct as they were impressed with his work on 300 (2007), a stylish adaptation of Frank Miller’s graphic novel of the same name. Screenwriter Alex Tse was hired and he took elements from Hayter’s drafts while maintaining the Cold War setting of the comic book. The resulting film polarized critics and was a modest commercial success. Taking his cue from Robert Rodriguez’s adaptation of Sin City (2005), Snyder set out to make a visually faithful adaptation, often recreating certain panels exactly as they were presented in the comic book but ran into trouble when he deviated with his own preoccupations and stylistic flourishes. The end result is a film that is at times brilliantly faithful and also deeply flawed – a mixed bag but also an admirable attempt at an impossible task. The Ultimate Edition version, which fused the director’s cut with the animated short film, Tales of the Black Freighter (a comic book that runs throughout Watchmen, often commenting on the action), is the most complete version of Snyder’s take on the material.

Set during the mid-‘80s amid the nuclear arms race between Russia and the United States, Watchmen begins with two police detectives investigating the mysterious murder of Edward Blake (Jeffrey Dean Morgan) whose alter ego is the costumed superhero known as the Comedian, an amoral mixture of Nick Fury and G. Gordon Liddy. Another costumed vigilante by the name of Rorschach (Jackie Earle Haley) – imagine Travis Bickle mixed with Sam Spade – decides to conduct his own investigation and realizes that the Comedian’s death is only a small fragment of a much larger puzzle. He proceeds to notify the surviving members of the superhero team he belonged to: Dan Dreiberg (Patrick Wlison) a.k.a. Nite Owl, a Batman-esque crusader now retired; Laurie Jupiter (Malin Akerman) a.k.a. Silk Spectre, a beautiful woman pushed into the business by her famous mother, Sally (Carla Gugino), the original Silk Spectre; Adrian Veidt (Matthew Goode) a.k.a. Ozymandias, a billionaire businessman and considered by many to be the smartest man on the planet; and Dr. Manhattan (Billy Crudup), an omnipotent being capable of manipulating matter on a cellular level. As Rorschach’s investigation progresses it appears that someone is trying to eliminate all of his former team members but to what end?

The first indication that director Zach Snyder imposes his trademark style occurs in the prologue when the Comedian is killed by a mysterious assailant. Not only does he drag out the fight, but he also unnecessarily employs his slow motion/speed up technique. However, Snyder makes up for it with a superbly executed opening credits sequence that introduces this world and its alternate history timeline (i.e. the Comedian assassinates President Kennedy on the grassy knoll) while also including all kinds of visual Easter eggs for fans of the comic book (like showing how minor character Dollar Bill died). As a result, there is something for newbies and fans alike.

For everything Snyder gets right – the look and feel of the film, which features some truly astounding production design that completely immerses you in this world – he maddeningly gets other things wrong when he adds bits to scenes that have no purpose except to add a little more action for our ADD culture, like in the scene where Rorschach is discovered by two police officers as he’s searching the Comedian’s apartment. The masked vigilante subdues one of them and disappears before the other can collar him. Why? To show what a badass he is? This is unnecessary as actor Jackie Earle Haley’s excellent performance does that for him.

Another nice addition is the integration of an animated rendition of The Tales of the Black Freighter, a comic book within the graphic novel about the sole survivor (voiced by Gerard Butler) of a shipwreck who desperately tries to make it back home to his family before the pirate ship of book’s title does. Snyder nails the nightmarish Tales from the Crypt vibe of the comic while also restoring the newsstand scenes between the vendor and the kid reading the book, which fleshes out this alternate world.

Snyder makes some blunders with a few of the musical cues, like using “Ride of the Valkyries” in the sequence where Dr. Manhattan slaughters Viet Cong soldiers during the Vietnam War. The director is obviously paying homage to the famous use of the song in Apocalypse Now (1979) but it is unnecessary and too on the nose. However, the most glaring miscue is using “Hallelujah” by Leonard Cohen instead of “You’re My Thrill” as it was in the graphic novel. Do we really need this song played yet again in a film? This song and all versions of it need to be retired from cinema indefinitely.

For the most part the casting is spot on. Patrick Wilson put on weight to portray the slightly out of shape Dan Dreiberg and with his retro haircut and defeated posture certainly looks the part. Wilson gives Dreiberg a slightly sad, pathetic vibe, which suits the character. Billy Crudup nails the eerie detachment of Dr. Manhattan, a god-like being bored with humanity. The actor adopts a neutral tone akin to that of HAL 9000 in 2001: A Space Odyssey (1968). Perhaps the best realized and most faithfully recreated portion of the graphic novel is Dr. Manhattan’s tragic backstory, which also attempts to present his worldview: he perceives the past, present and future simultaneously. Crudup does a nice job of showing the transition of Manhattan from a mild-mannered scientist to omnipotent super being with some eerily uncanny recreations of panels from the graphic novel. We see how Manhattan’s ability to manipulate matter on a cellular level radically changes the course of world history (for example, the U.S. wins the Vietnam War with his help). According to Moore, his aim with Manhattan was to show that he “does not perceive time the same way we do. We have a character who’s post-Einsteinian, who seems to accept that all time is happening at once. Past, present and future. And to him, the past is still there, and the future is there, right now.”

Thankfully, the flashbacks depicting the Comedian’s backstory don’t shy away from his amoral behavior: trying to rape the original Silk Spectre and killing a Vietnamese woman pregnant with his child. Jeffrey Dean Morgan does a fantastic job conveying his character’s skewed worldview: how everything is part of a big, dark joke that only the Comedian gets. In his own way, he realizes that what costumed superheroes do – fighting crime – is ultimately meaningless in the face of nuclear annihilation. The darker and more chaotic things get the more he likes it. Morgan is also able to dig deeper during his tearful late night visitation with an old foe, giving us tantalizing hints at a much, darker and larger scheme at work – the knowledge of which got him killed in the first place.

Easily the strongest performance comes courtesy of Jackie Earle Haley as the sociopathic Rorschach. The most important thing he does is get the voice right. Everyone has their own idea of what he should sound like and Haley got it. Not only does he look great in the costume but also out of it during the portion of the film where he’s unmasked and in prison. The actor is even more chilling as he recounts to a psychiatrist how he became Rorschach and the incident that transformed him permanently into his costumed alter ego. This section of Watchmen offers a glimpse into his disturbing worldview in what is easily the darkest, most bleak part of the film, much like the graphic novel. But again, Snyder imposes his style unnecessarily, adding his own gory flourishes to Rorschach’s showdown with a kidnapper. It is excessive and clumsily executed like something out of a cheap B-horror film whereas the graphic novel was much more horrifying because it left the criminal’s fate to your imagination. Snyder is too busy making Rorschach look cool and failing to realize that in the graphic novel Moore and Gibbons were deconstructing the romantic costumed superhero myth and exploring what motivates someone to dress up and fight crime and how this might warp them. Rorschach wasn’t meant to be a cool character but a depressing, frightening one. His backstory was where, according to Moore, “we actually go for the heart of darkness, we go to the very center of this black, depressing sort of pre-nuclear worldview.”

The most significant miscasting of the film is actress Malin Akerman as Laurie Jupiter. While the attractive actress looks the part, she lacks the acting chops required for the role. Known mostly for romantic comedies, Akerman looks lost in the role, which is unfortunate as it’s the most pivotal part and arguably the most complicated character in the book. Laurie’s relationship with Dan is the emotional center of the story and this is diluted in the film by the casting of Akerman. Carla Gugino, who ironically plays her mother in the film, would’ve actually been better in the role – or, maybe Jennifer Garner who demonstrated a capacity for action and drama in the J.J. Abrams television show Alias.

Another glaring miscast role is that of Matthew Goode as Adrian Veidt. The actor doesn’t look like the character or really act like him either. He’s a little too smug and too over-confident in his portrayal whereas in the graphic novel Veidt was subtly condescending to those around him, coming across as almost distracted, the reasons for which become apparent later on. Snyder has said that he didn’t want to cast recognizable movie stars in the major roles but for Veidt, a celebrity in his own right and by his own making, this would’ve been a wise move. I always thought that Jude Law would’ve been a good choice as he looks the part and showed the capacity to play unlikable characters in films like The Talented Mr. Ripley (1999). Plus, while doing press for Sky Captain and the World of Tomorrow (2004), Law admitted to being a huge fan of the graphic novel and probably would’ve been willing to take a pay cut.

Watchmen perfectly summarizes Snyder’s limitations as a filmmaker. He slavishly recreates panels and sequences from the graphic novel without demonstrating any understanding of what they mean. For example, the climactic scene where Laurie convinces Dr. Manhattan to come back to Earth, that there is more to the universe than random molecules colliding with one another is handled all wrong. In the graphic novel, we find out that Sally loved the Comedian, even after he tried to rape her. The fact that she could feel for a person who committed such a horrible act goes against all logic and that Laurie was the product of their act of love is what convinces the Manhattan to renew his interest in humanity. The film waters this down completely and Sally says that she made a mistake being with the Comedian that one time but that she loves Laurie anyway. Whereas, the graphic novel is a thought-provoking look at human nature and our fascination with costumed superheroes, the film dilutes and tries to make it palatable for a mainstream audience while still trying to appeal to fans of the source material. This schizophrenic attitude is arguably one of the biggest flaws of the film.

Watchmen is a flawed mess of a film – one that gets many things right but also gets a lot of things wrong – but a fascinating one nonetheless. If I’m being overly critical on Snyder it’s only because I love the source material so much that seeing it brought to life in a film was at once exhilarating and depressing. One has to give Snyder credit for making it at all, for using his clout to make sure it was R rated and keeping it set during the ‘80s – two things he went to the mat for with the studio. He made the best possible film one could with the limitations of a feature film format. Ideally, the graphic novel could only truly be done justice in a mini-series format aired on a cable channel like HBO, which would free the filmmakers of the constraints of network television. Watchmen asks many questions but perhaps as Dave Gibbons points out, it really asks the big question: “Who makes the world? Who is responsible for the way the world is? And a lot of it is planned, but a lot of it is just sheer chance. There are patterns, the pattern that we perceive, but there are patterns going on underneath it. And that’s what we tried to show. With these sub, almost subliminal patterns that go through things, echoes, repeating shapes, motifs turning up in unexpected places.” Is the world made of patterns or is it sheer coincidence? The graphic novel expertly examines these questions and offers an entertaining story as well. The film? Not so much.