Fresh off the heels of mega-hit comic-book adaption and meme goldmine 300, Zak Snyder had the world at his feet. Like a conquering hero, the grandiose success of only his second feature film afforded him his pick of the best, juiciest and most bountiful of projects. He could have done anything. He could have slipped into a franchise like Bond or the X-Men. He could have played it safe and made a sequel. Instead he choose to adapt the unadaptable He’d make The Watchmen; the labyrinthine, epic comic book that had lingered in development hell for nearly twenty years. The plan was to steer the floundering ship into port, and once again prove that he was the Alpha and the Omega of all comic-book movie directors. Fuck Christopher Nolan’s puny Batman or Hugh Jackman’s pathetic Wolverine. Snyder was gonna make a giant budget movie about a giant blue man with his giant blue CGI dick out.
Who Watches the Watchmen?
You know, this was the first Batman movie I hadn’t seen at the cinema since Batman Returns. I was put off by all the negativity, the blatant fanboyism, and the fact that Man of Steel was such a dull mess. That’s right, I may have suffered Batman & Robin, but I wouldn’t suffer this. C’mon -even without seeing the trailers, it was obvious that Batman and Superman would make up, buddy up, and then take out some common foe. Yet, hot on the heels of Marvel’s R-rated superhero release, Deadpool, director Zak Snyder (300) chose to release an ultimate uncut edition too. It’s his definitive vision of the story, he says. And so, like Rocky or some other boxing movie character, I chose to step into the ring one last time. I’m a glutton for punishment.
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As I explained last week, the landscape for superhero films (particularly Batman) was non-existent in the 70’s and 80’s. Well, I mean serious superhero films. Beyond Superman, the only other alternatives were dreck like Kiss Meets The Phantom Of The Park, or the woeful first Captain America film in 1979 . Comics were still far from mainstream, and no one in Hollywood had any inkling as to the dark, anti-hero renaisance that was occurring in the halls of DC and Marvel.
Tim Burton’s 1989 Batman changed all that.
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