I know a lot of people **** on that movie, but I like it. It fit Snyder’s style.
I don’t know how to feel about it. I’ll be honest, I was 12 when I first read Watchmen, and I was 14 when I saw the movie and, as such, I saw the book and the film from very similar perspectives, albeit perspectives devoid of nuance. I didn’t really pick up the satire in Alan Moore’s voice, and so, as a self-anointed “woke” 12 year old, hearing Rorschach wax poetic about the dead dog in the alley and the whores and politicians had me shaking the book like it was a Bible in an Alabama tent revival and nodding my head approvingly, and those same feelings came back around when the movie came out, as I was awestruck by how faithful it was to the source material.
As I got older, though, the more I looked back on both the book and the film, the less faithful I think the film is, in the sense that, while it hits all the right notes, it doesn’t quite manage to capture the tone. It’s a little like the Nine Inch Nails and Johnny Cash versions of Hurt. Same lyrics, but it’s coming from two totally different places, and I hate to be that guy because I do feel bad for Snyder and it seems like Watchmen’s the only work he’s ever done that has actually been received mostly favorably, but the more I watch it, the more I think that Snyder took the same things from Watchmen that all the extreme pouch artists of the ‘90s did, which was that “this is what comics should be” and “look how dark and gritty and edgy this **** is.”
The problem with that is that you’re viewing a deconstruction of comic books and, basically, an indictment of the morally objectivist “might makes right” pathologies of all of our favorite heroes, and you’re acting like it’s a celebration, when, in actuality, Moore is like “no, Rorschach’s a borderline ******** psychopath, Nite Owl’s an impotent coward, Doctor Manhattan is basically God having a mid-life crisis and acting like some college kid who just read about nihilism for the first time, and the only way Ozymandias, the smartest man in the world, can actually actually succeed in saving the world is by embracing the idea that mankind is nothing more than a scumbag collective and the only way to stop them from blowing the whole thing to **** is by giving them something bigger than each other to hate.” That’s what kills me about Watchmen, when I see comic book fans praising it as the greatest comic ever written. It’s like, “you do realize this is basically Alan Moore giving you all the finger, right?” think that’s why it’s so widely recognized; because, yeah, it shows what you can do in a comic book, but it’s also just pure self-loathing; it’s like the ****ing Eeyore of superhero comics.
It really is kind of darkly hilarious, though. I mean, the stuff with Nixon in the war room is like pure Doctor Strangelove, but, going back to Rorschach’s tirades, I just can’t take them seriously, anymore, and I don’t know that you’re supposed to. The feeling I get is almost anxious laughter; in that you’re engrossed in the absurdity of it all, but you’re also ****ing terrifies of the fact that he buys into all of this, body and soul, which brings me to Snyder, who buys into all of it, body and soul.
He just has this way of normalizing the absurdity of it all, with the high tech Hollywood super suits, with the slow motion action shots and the victorious Nite-Owl *** scene where it’s less “I need this to get off because it’s my kink” and more “**** Yeah! We just saved all those people, now let’s you and me reward ourselves by banging to Leonard Cohen like this is a late night ****o on Skinemax.” I don’t know. It’s weird. I have sort of a love/hate relationship with a Watchmen sometimes in that I love it, but I hate what it’s perceived as, if that makes sense, and I feel like Snyder’s adaptation is very much a student of “what it’s perceived as.” I’m very curious to see what Lindelof’s take for HBO will be like, though.