Watchmen

Justice is coming to all of us. No matter what we do.

Release Date 2009-03-04
Runtime 163 minutes
Status Released
Watch

Overview

In a gritty and alternate 1985, the glory days of costumed vigilantes have been brought to a close by a government crackdown. But after one of the masked veterans is brutally murdered, an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so they uncover a sinister plot that puts all of humanity in grave danger.

Budget $130,000,000
Revenue $185,258,983
Vote Average 7.341/10
Vote Count 9528
Popularity 7.5547
Original Language en

Backdrop

Available Languages

English US
Title:
"Justice is coming to all of us. No matter what we do."
Français FR
Title: Watchmen : Les Gardiens
"Qui va nous sauver maintenant ?"
Deutsch DE
Title: Watchmen - Die Wächter
"Wer wird uns jetzt retten?"
Italiano IT
Title:
"Il mondo ha bisogno dei suoi eroi"
Pусский RU
Title: Хранители
"«Правосудие Настигнет Каждого из нас. Не Важно за что»"
Český CZ
Title: Strážci – Watchmen
"Kdo teď zachrání nás?"

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Cast

Crew

Reviews

John Chard
8.0/10
The comic book geek blockbuster for adults only. Watchmen is directed by Zack Snyder and adapted to screenplay by David Hayter and Alex Tse from the Alan Moore/David Gibbons graphic novel. It stars Patrick Wilson, Malin Ackerman, Billy Crudup, Jackie Earle Haley, Jeffrey Dean Morgan, Carla Gugino and Matt Frewer. Music is by Tyler Bates and cinematography by Larry Fong. 1985 and someone is killing all our superheroes. Time for the remaining super heroes to band together - but what they find as they fight the good fight is potential annihilation for everyone. It was quite a battle getting Watchmen onto the screen, over twenty years of legal wrangling and controversies, it got to the point where fans of the source material doubted it would ever happen - and even if it did it was sure to be a monstrous failure. How pleasing to find that not only did it make it to the screen, but it is also a genre bending winner - well to some of us of course... One has to take into context just how potent and original the graphic novel was back in 1986/7, we are dealing with very mature themes, superheroes with serious psychological baggage. Alan Moore lit the touch paper in the comic book kingdom that the rest have since followed to keep the torch burning well into the new millennium. Snyder has achieved top line results in getting both the feel and look of the source, even if some of Moore's cunning cynicism has been lost in translation. Story is set right in the middle of nuclear paranoia and the fear of the Soviets in 85, the America we view is dank and depressing, noirish in vibe (aided by Rorschach's clobber and detective inclinations), it's a world on the road to nowhere. We are also at a time in the alternate world where superheroes are banned from operating, forcing The Watchmen to become vigilantes - that is if they can get along and shunt their psycho discord to one side. The back stories of the main protagonists are fully formed, and these are not jolly characters, so much so you worry the fate of mankind is doomed if these are who we rely on to save us. There was in no way that Snyder would be able to produce a comic book filmic adaptation that would be as worshipped in that sphere, to rival that of the worship the novel has in its own. However, coming at it as someone who only sought out the source material after seeing the film, it shines bright for newcomers who are ironically seeking darker tints in superhero tales. Oh it has the requisite nifty twists (a clinical mystery to be unearthed), booming visuals, excellent effects work and smartly constructed action set-pieces, but narratively it's moody and calls for the utmost attention on dialogue passages (I have found it gets better on repeat viewings). Snyder clearly cared about the project and that love is evident in the movie. It was never going to appease all and sundry, but at worst to hardcore Moore fans it's at least an honourable failure, to many others it's a smart and stylishly refreshing genre booster. 8/10
Manuel São Bento
7.0/10
If you enjoy reading my Spoiler-Free reviews, please follow my blog :) First of all, this review is based on the theatrical version of Watchmen. Usually, Director's Cuts or Ultimate Editions are not preferred over the original release. Few films benefit from them, and most are simply an extended cut with a bunch of deleted scenes. It's only fair and rational that a reviewer watches the version which the whole world saw at the theaters at the respective time. With that said, despite knowing the story of the source material, I never indeed read it. Having in mind that most of the "hate" that this Zack Snyder's movie received is from comic-book purists (basically, every book/comic/game/whatever-lover who defends that any cinematic adaptations of any of these sources MUST be 100% the same, with no modifications whatsoever), I'm certain an unbiased perspective is the way to go. And overall, this is a good feature. Watchmen isn't just another CBM (comic-book movie). It doesn't just follow one hero vs. one villain. It's a whole world (in today's standards, it's really a cinematic universe) of "superheroes" meant to be explored in fine detail (hence the release of a TV show today... reviewing that later). It's an extremely complex world that needs to be thoroughly explained in order to deeply understand how it works, and what's everyone's role in it. This is the film's main problem: it struggles to juggle all of its different storylines and distinct characters. Even with 163min of runtime, it's impossible to squeeze in all of the necessary information. So, as expected, Snyder and his team of screenwriters had to simplify, shorten, or even wholly dismiss some story elements that would only stretch the runtime to an unfathomable length. Some of the adaptations work brilliantly, but some fail to give a character its importance or offer no interest to a subplot. However, it's still easy to understand everything, and how the ending is going to unravel, which leads me to my second issue with the movie: its final act's heavy exposition. Like I wrote above, there is a lot of information to deliver. What Snyder did very well was to tell most of it through flashbacks or captivating conversations, but in the final act, where everything was self-explanatory and in no need of more exposition, there is an excess of redundant dialogue that doesn't really add anything relevant. What the characters are saying is significant, yes, but we, as the audience, already know all of that way before the film's climax. It's ironic how they make a joke about villains telling their masterplan to the hero and how this villain isn't dumb enough to do it, but then proceed to carefully explain everything (that we know already) through exposition. Sincerely, these are the major problems that I have with the movie. However, I love so much about everything else. From the appropriated and fun soundtracks to the beautiful production design, Zack Snyder and his crew really do a fantastic work technically. Snyder's style captures Watchmen's world perfectly. It's one of those films that carry a "feel" due to its stylish cinematography. I love how little CGI is actually applied (I'm obviously ignoring the big blue guy), and the abundance of practical effects and real sets that are used. The action sequences look spectacular, way better than a lot of blockbusters nowadays (10 years later!). Despite the terrific technical achievements, my main compliment is actually connected to my number one problem. Even though the storylines are incredibly hard to balance, characters like Rorschach, Nite Owl, Silk Spectre, and The Comedian (Jeffrey Dean Morgan) have extraordinarily captivating and entertaining stories. There might be a few missteps here and there, but Snyder made ONE movie from a material that's worth a whole TV show or at least two films. And he delivered a GOOD one! Probably a better job than 80% of the directors working today could ever achieve. Finally, the social commentary is still quite relevant for this new generation, and if the so-called "source-material-purists" didn't exist, this movie would be a lot more appreciated. All in all, Watchmen is as good as it could be, having in mind it's just one film with already a long runtime. Its narrative was always going to be extremely difficult to tell in a solid yet compelling manner, and Zack Snyder does struggle with balancing all of the storylines and its characters. However, he and his phenomenal team still delivered a good flick. Technically sublime, with a distinct style, brilliant production design, and gorgeous cinematography. Characters like Rorschach and Nite Owl have amazing moments, filled with excellent action sequences, but also with emotionally powerful scenes. If it could be better? Maybe. If it could be split into two or three movies. As it stands, as one and only film, it's really impressive even with its flaws. Rating: B
David
10.0/10
As humans, we are drawn to what inspires us, interests us, and tickles our fancy. Human opinion can be a fickle thing, especially when it comes to film, books, and music, due to this the message that is interwoven through these mediums are missed by all of us simply because we won't take the time to watch, read or listen to what is being said to us. The message throughout Watchman and Tales of The Black Freighter in film and more importantly in graphic novel form is that we as humans try so hard to make the world a better place, but being pushed so far while trying to rid the world of evil we become the very thing we're fighting against, sometimes this a fact we do not see, or we do when it's too late. When Alan Moore wrote the story for the graphic novel, he did so at the height of this planet's greatest threat of nuclear annihilation; The Cold War, The U.S. and Russia at a stalemate over nuclear arms, and Russia's invasion of Afghanistan, had meant that at any moment millions of people on this planet could have met a brutal end. As far as the story goes, this is a concept that has been warped, and manipulated into a alternate universe where in 1985 Richard Nixon has changed the constitution of the USA and made it allowable for him to serve more than 2 terms of Presidency, it's also a universe where in the times after WWII ordinary citizens decided that crime and corruption throughout America, and especially New York had gotten to levels beyond the control of authorities that they would suit up as masked vigilantes, and fight crime head on. By 1985 masked heroes are outlawed, and former "heroes" were forced to reveal themselves, or stay hidden, but give up their lifestyle. The story of the most part is told through the eyes of one character Rorschach (Haley) as he investigates the murder of a fellow vigilante, The Comedian (Morgan). Rorschach is the only vigilante who has not given up the lifestyle, and is wanted by the F.B.I. Rorschach tries to re-engage the remaining "heroes" to help him find the murderer, and get to the heart of why he was murdered. The other "heroes" are Night Owl II (Wilson); an aging recluse who inherited a fortune from his father and used it to engage in vigilante activities, Silk Spectre II (Ackerman); daughter of an original Minutewoman (Cugino), Ozymandias (Goode), a self made millionaire who has modeled himself and his life on Alexander the Great, and Dr. Manhattan (Crudup), the only real superhero due an accident in a atomic chamber in a lab when he was a physicist. The film follows pretty closely the themes and tone of the book, much more than any comic related movie before it, thanks mostly to the dedication of director Zack Snyder. The look and feel of the film to date it in 1985 was very well handled, and can certainly be called a period piece due to the level of exact detail through-out. Performances are in general pretty well done, and reflect the emotions of the characters in the book, as this is the Ultimate Cut, the extended scenes, plus the interwoven story of the comic book within a comic book; "Tales of The Black Freighter" make for a film that is worthy of its 215 minute length. Having said that they leave well and truly enough of the story in the theatrical cut where the message still shines through. The credits for this film are the best I have ever seen, using the Bob Dylan song "The Times They Are A-Changing", and features snapshots of the highs and lows of the Minutemen and Watchmen from the 1940's through to the 1980's against the backdrop of important cultural and political icons and events. This movie is easily one of my favourites of the modern age of film, because of the well delivered message, and the uncompromised approach to bring the graphic novel to life.
SierraKiloBravo
8.0/10
Click here for a video version of this review: youtu.be/2tkzmGjXfdE _Watchmen_ polarised audiences when it arrived in theatres in 2009. Coming not long after Marvel's _Iron Man_ many were expecting a fun action oriented super hero movie. _Watchmen_ however, is not that kind of movie. Just like the source material it comes from, this is a dark and brooding film that deals with some complicated questions. Here is the official description: _In a gritty and alternate 1985 the glory days of costumed vigilantes have been brought to a close by a government crackdown, but after one of the masked veterans is brutally murdered, an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so uncover a sinister plot that puts all of humanity in grave danger._ Starting off with a fantastic montage that, with barely a word, fills you in on the alternate history of the movie, and the timeline of things leading up to the start of the main story, Watchmen does a great job of building this world you are about to inhabit for two hours and 45 minutes. The characters are strong, and develop logically over the course of the film, and you can really feel their sense of despair or feeling of not belonging. I think of all the comic book movies I've seen, this one captures best those feelings the characters have of being lonely outsiders. Rorschach's commitment to the truth in the movie leads to a brilliant defining moment was where it all just bursts out from him. It was very well done. He, as a character, is so good that I think he deserves his own movie in the same noir-ish style. The length and style of this will turn a lot of people off, it is much more of a character piece than a big explosive action extravaganza. In my opinion, it's one of the better comic book movies out there. Top all that off with a fantastic sound track of 1980s music and this is a pretty good package. If you like bright lights and shiny tights, this is not the comic book movie for you. If however you like a super hero movie with some depth and that deals with some philosophical questions this will give you a lot more to chew over than some other DC adaptations.
Wuchak
9.0/10
_**The "Apocalypse Now" of superhero films**_ Based on Alan Moore's graphic novel, 2009's "Watchmen" takes place in an alternative 1985 where Nixon is serving his fifth term and costumed vigilantism is illegal. A former masked crimefighter named The Comedian is murdered, prompting his previous teammates to investigate the crime. Things get complicated as the backstories of most of the Watchmen are revealed and worldwide nuclear war looms. For some reason I was never interested in the Watchmen and therefore never read the graphic novel, even though I had the opportunity. Why? The fact that it took place in an alternative reality turned me off, as did the peculiarities of the team members which, I later discovered, Moore intended as satire. That said, this is mind-blowing. "Watchmen" is an adult-oriented superhero flick with a convoluted plot, strong characters and total originality. The latter two score high marks with me any day. Rorschach (Jackie Earle Haley) stands out with his gravelly voice and right-wing ideology, although he's not very likable. He's impressive yet, at the same time, kind of pathetic. The character was based on Steve Ditko's The Question. The Comedian (Jeffrey Dean Morgan) exudes great charisma and is reminiscent of The Punisher, if he were a jokester. Unfortunately, The Comedian's arrogant & hotheaded and has a weakness towards the ladies, not to mention cold-blooded murder. Night Owl (Patrick Wilson) is another strong character, obviously based on Batman or Blue Beetle. Unlike the previous two he's very likable. I always thought his costume looked really lame in the graphic novel but, as depicted in the film, it kicks axx. Dr. Manhattan (Greg Plitt), named for the Manhattan Project and based on Captain Atom with a dash of Mr. Fantastic, is an almost God-like being who can do pretty much anything. He's so detached from the human experience that he walks around totally nude and has no time for his woman, Silk Spectre II. He'd rather hang out on Mars -- literally! Silk Spectre II (Malin Akerman) stands out due to her sexy costume more than anything else, not to mention Akerman's drop-dead-gorgeous looks. The character was based on Phantom Lady and Black Canary. Silk can't handle Dr. Manhattan's increasing aloofness and consequently diverts to Night Owl for human warmth. Silk Spectre (Carla Gugino) is Silk Spectre II's mother and has a pretty significant part. Like her daughter, she's hot, albeit in a whole different way. Ozzyosbourne, whoops, I mean Ozymandias (Matthew Goode) is the least developed character and loosely based on Charlton Comic's Thunderbolt. He's ultra-smart, ultra-quick and kinda foppish. Another highlight is the hypnotic score by Tyler Bates mixed with a quality soundtrack (e.g. "The Sound of Silence," "All Along the Watchtower," etc.) BOTTOM LINE: The film is long, dark, mature, dialogue-driven and convoluted, but the strong characters and originality win the day. No moronic "blockbuster" trash here. Not to mention Silk Spectre II and her mother are extremely easy on the eyes. As far as superhero flicks go, there's really nothing else like "Watchmen." It's even more atypical than the X-Men and easily one of my favorite superhero flicks, maybe even THE favorite. "Watchmen" is like the "Apocalypse Now" of superhero films! RUNTIME: Theatrical Cut: 162 minutes; Director's Cut: 186 minutes; The Ultimate Cut: 215 minutes COMPARING CUTS: I own both the theatrical cut and Director's Cut. Although the theatrical version is just fine, the DC is worthwhile for extended dialogue to existing scenes in the theatrical cut; the biggest addition is an attack on Night Owl's Mentor, Hollis Mason, at the hands of a thug gang and Night Owl's subsequent brutal revenge at a bar. Despite the convoluted plot, I had no problem following the story in the theatrical cut, even though I've never read the graphic novel. The filmmakers did an excellent job cutting out the fat in the theatrical version. So don't think you'll need to purchase the DC to understand the story; it's not necessary. My recommendation is to check out the theatrical version first and only purchase the DC if the theatrical cut left you wanting even more, which is what it did for me. Even so, I PREFER the theatrical cut; it's leaner and just all-around better. GRADE: A

Famous Conversations

ADAMSON: The access code's been changed. Your card won't work anymore.

LAURIE: What?!

ADAMSON: Please.

LAURIE: Major Adamson, I can't seem to get in the door.

ADAMSON: Laurie, I'll have to ask you to come with me.

LAURIE: Why? What's the problem?

ADAMSON: I can't tell you that. It is quite urgent.

LAURIE: I would like to use the bathroom --

ANALYST: As you can see, we may be able to salvage a good-sized chunk of the farm belt.

PRESIDENT: What about the aftermath? This so-called . . . "nuclear winter" theory?

ANALYST: We don't really know, sir, but bluntly, our survival capability . . . may depend on a quirk of the weather.

PRESIDENT: The weather. I see. Keep me posted. I want hourly forecasts and a full report on optimum strike conditions.

PRESIDENT: What kind of time frame are we talking about?

ANALYST: Thirty minutes maximum. Of course, I assume we'd be in the fortified command bunker at the time of the launch order.

PRESIDENT: What about our end?

ANALYST: Well, sir . . . in a worst-case scenario . . . we'd assume that twenty-five percent of the Russian birds get through.

BURNS: He would -- You might as well know. It's gonna get messy. We got a call from Washington.

HYDE: Washington?

BURNS: They want in. Seems our friend here was hardcore CTU.

BURNS: Had a lot of blood in him.

HYDE: You oughta see upstairs. It's a slaughterhouse.

BURNS: No idea who's behind this?

HYDE: Small army, from the looks of it. He put up one hell of a fight.

DR. LONG: That man, then, he was the first. The first you --

RORSCHACH: Saw the world that night -- random, empty, hideous. God didn't make it that way. We did. We make the world -- in our own image. What else can I illuminate?

DR. LONG: Walter. This compulsion of yours -- to punish transgressors. In your mind . . . what gives you the right to judge?

RORSCHACH: God isn't there to do it.

DR. LONG: We don't know that.

DR. LONG: And what -- split -- the dog's skull open?

RORSCHACH: Why, doctor. I did. He was a bad dog.

RORSCHACH: A whore fucking.

DR. LONG: Who is she? Do you know her?

DR. LONG: Walter --

RORSCHACH: Don't call me that.

DR. LONG: Walter -- you're just telling me what you think I want to hear.

RORSCHACH: Wrong answers?

DR. LONG: There's no right or wrong. But if you don't give me an honest response, I can't help you. I want to help you. I want to know all about you.

RORSCHACH: Hnnrr. -- Like to masturbate. Shit once a day.

DR. MANHATTAN: WHAT ARE YOU DOING, VEIDT?

VEIDT: Jon! Get back! You don't understand.

VEIDT: I guess you'll be dismantling Russian tanks soon.

DR. MANHATTAN: You mean Afghanistan? It won't require my attention. What I'm doing here is far more interesting.

VEIDT: Rorschach's on the case. He's got Dreiberg in a lather. He seems to think that someone is "stalking" the Watchmen.

DR. MANHATTAN: Oh? The CTU suspects a Libyan hit squad.

VEIDT: What's your theory?

DR. MANHATTAN: Life and death are unquantifiable abstracts. They don't concern me.

DR. MANHATTAN: The bearer of bad news.

VEIDT: We've lost a colleague. The Comedian is dead.

VEIDT: Hi, Jon.

DR. MANHATTAN: Hello, Adrian.

LAURIE: Jon --

DR. MANHATTAN: Space and time. I finally understand, Laurie. I see it all now.

LAURIE: Jon -- for Gods sake, what do you see?

DR. MANHATTAN: I see what the watchmaker made. I see the universe!

LAURIE: Jon, where are we?

DR. MANHATTAN: Veidts complex.

DR. MANHATTAN: Its very strange. Times flowing backwards . . .

LAURIE: Jon -- what??

DR. MANHATTAN: The south pole. Times flowing backwards.

LAURIE: What -- am I --

DR. MANHATTAN: Cured, yes.

LAURIE: Jon, I do not want to hear it.

DR. MANHATTAN: I'm sorry. Look -- there's a gas storm on the Valles Marineris . . .

LAURIE: Oh God. I'm no more than a bug on a windshield to you.

DR. MANHATTAN: You're the only human being I care for.

LAURIE: Then do me a favor. If the world's going to end, it shouldn't matter a bit. I want you to cure me.

DR. MANHATTAN: I won't do that.

LAURIE: You have the power to do it. I want you to do it. Please.

DR. MANHATTAN: I explained this. I can't. That's not the way it happens.

LAURIE: Jon. If you ever loved me -- if there's anything human left in you -- then do it.

LAURIE: I can't stand any more of this. I want to go back. If I'm going to die I want to be with -- other people.

DR. MANHATTAN: Please, Laurie. Not yet. I've got eons stretching before me, a universe to explore. I'll be alone. You're the last human being I'll ever see.

LAURIE: Then why don't you . . . do something about it!

DR. MANHATTAN: Because --

LAURIE: Because you can't, I know, it's preordained. So sorry. I forgot. Jon. This, this "script" you're following . . . who writes it?

DR. MANHATTAN: I don't know yet. I should be able to tell you in -- roughly six hundred years.

LAURIE: Then it's going to happen. The world's going to end. -- And you've always known.

DR. MANHATTAN: Always. Ever since the day I died.

LAURIE: Jon -- there's something I have to know. Did you love me once?

DR. MANHATTAN: Yes, I loved you. I left the earth when I lost you.

LAURIE: Yet you must've known all along that you'd give me cancer. Just be being with me.

DR. MANHATTAN: I didn't give you cancer, Laurie. Not you, not the others. I don't know what did.

LAURIE: But you knew that I'd -- die.

DR. MANHATTAN: Memories of the future are just like any others. I've tried not to dwell on the unpleasant ones . . . You won't die of cancer, Laurie. There won't be time for that.

LAURIE: Jon, does anybody know what the hell you're talking about? Dan's just an ordinary guy, but he talks to me. When he looks at me he's seeing something more than just a -- a collection of atoms.

DR. MANHATTAN: Then you're sleeping with Dreiberg?

LAURIE: Well, I just, you just said -- don't act surprised.

DR. MANHATTAN: That's how time works, Laurie. Everything is preordained . . . even my responses. We're all puppets. I'm just a puppet who can see the strings. -- Thirty seconds.

LAURIE: This whole place is ticking. Does it -- keep time?

DR. MANHATTAN: Yes. In about . . . thirty seconds, for example, you'll tell me you're sleeping with Dreiberg.

LAURIE: You -- you know about me and Dan?

DR. MANHATTAN: The atmosphere. I'm sorry. These things slip my mind.

LAURIE: Jesus, Jon, I nearly choked to -- where are we --

DR. MANHATTAN: I'm not here. I'm still on Mars. I've come to collect you.

LAURIE: Collect me?

DR. MANHATTAN: In the immediate future we're on Mars. I'm telling you goodbye. You're trying to convince me to cure your illness . . .

LAURIE: Jon, no -- I can't --

DR. MANHATTAN: It will happen, Laurie. I've already seen it. Neither of us can do anything to change it.

DR. MANHATTAN: Would you like me to stay?

LAURIE: Mm hmm.

DR. MANHATTAN: I could stay and go.

LAURIE: . . . And just how would you manage that?

DR. MANHATTAN: I'm here, Laurie.

LAURIE: Is it time? D'you have to leave for the funeral?

DR. MANHATTAN: Not yet, there's plenty of time.

LAURIE: Blake? Dead?

DR. MANHATTAN: Yes. I heard this morning. Washington's asked me to attend the funeral as a matter of protocol.

VEIDT: Your problem, Dan, is a lack of vision. You spent all those years chasing after muggers, and drug dealers, and jaywalkers . . . as if the world was any better for it. As if any of it mattered.

DREIBERG: You ruthless son of a bitch. You really believe this mad-scientist bullshit is going to save the world?

VEIDT: We'd better hope so. -- It's almost time.

VEIDT: Dont be obtuse, Daniel. If I kill Jon in the past, none of this will happen. We wont even be here, will we?

DREIBERG: And what if youre wrong?

VEIDT: Im not.

DREIBERG: What if youre wrong??

VEIDT: Then Ive been a very bad boy and youll have to spank me. Christ! Im doing what I have to do to save the godforsaken human race!!

VEIDT: Gentlemen, the past. Unfolding before your eyes. Stand back from the field. It'll blow you to bits.

DREIBERG: What is it? How does it work?

VEIDT: It's a tachyon chamber. It generates subatomic particles which flow backward in time. There are other worlds, Daniel, other timelines -- existing parallel to our own --

DREIBERG: Adrian -- you've lost it.

VEIDT: I've seen them! I've seen them in there.

VEIDT: It is Jon. Twenty-four years ago. Before he turned into Dr. Manhattan.

DREIBERG: Good Lord. How'd you get it on tape?

VEIDT: It's not on tape. It's live. We're watching it happen.

DREIBERG: What??

VEIDT: I couldn't let him interfere with my project.

VEIDT: Yeah. See, I've been working on a little project. Top secret, of course . . .

DREIBERG: The missing scientists.

VEIDT: Uh huh. You might recognize the names. Quite a few of them worked at Gila Flats.

DREIBERG: Who?

VEIDT: I don't know, but . . . in the wake of all that's happened, I'm starting to think Rorschach may have been right. Is Laurie okay?

DREIBERG: She's with me.

VEIDT: Good. Be careful, Daniel, don't let up your guard. Look, I'm going to head south for a while -- hole up at Karnak until all this blows over. You two would be welcome to join me.

DREIBERG: Thanks for the offer, Adrian. I'll let you know.

DREIBERG: I know, I know, it's just -- he's back on the street, he smells blood.

VEIDT: You know how he is. He goes on these binges, kills a couple of thugs -- then he's satisfied. It blows over.

DREIBERG: He's bound to get caught. I don't want my name coming out. Not at this late date.

VEIDT: If he comes here, I'll handle him. Remember -- I've always protected you. Haven't I? Do you need money?

DREIBERG: No. I just wanted you to --

VEIDT: You did the right thing, Daniel. Let's stay in touch, okay? Good night.

DREIBERG: Good night.

DREIBERG: The Comedian. He's dead. Murdered. That's all I know.

VEIDT: My God. Murdered? -- What's this have to do with Rorschach?

DREIBERG: It's -- he's got some kind of conspiracy theory. He thinks someone's . . . I don't know, stalking us.

VEIDT: Us. You mean the Watchmen.

LAURIE: Dan -- what do we do now?

DREIBERG: Wherever we are, it's better than what we left. Backs together --

LAURIE: We'll tell them what's happened. They'll listen to reason, won't they -- ?

LAURIE: Dan, is this -- is this New York??

DREIBERG: Those cars. What year is this??

LAURIE: Everything's changed --

DREIBERG: He saved himself. He changed the past.

LAURIE: Where did he go?

LAURIE: What was he doing?

DREIBERG: Trying to change the past. He said it was the only way to save the world --

LAURIE: Welcome back, Night Owl.

DREIBERG: What now? Fly south -- hook up with Adrian?

DREIBERG: I beg your pardon . . . ? Some gratitude.

LAURIE: Will you two lovebirds keep it down?

LAURIE: What's he doing?

DREIBERG: I think he's going to the john.

LAURIE: My God! We bust him out of jail, in the middle of a riot, and he stops to take a --

LAURIE: You're full of yourself. What are you doing?

DREIBERG: Long as we're on the subject of perverts . . . I miss Rorschach. Let's spring him.

LAURIE: . . . What??

DREIBERG: No way. I'm not that much of a pervert.

LAURIE: Yes you are.

DREIBERG: No offense, Laurie, but it was Silk Spectre I had the crush on. Tonight was the first time I've felt like myself in ten years.

LAURIE: That's because --

DREIBERG: It's because there's nothing to be afraid of anymore. The world's about to end. I feel like I could save it.

DREIBERG: What?

LAURIE: The costumes. Am I right?

LAURIE: Missed 'em Dan. You're aiming high!

DREIBERG: I don't want to take 'em out. Just want to keep 'em interested.

LAURIE: They're practically on us . . .

DREIBERG: That Detroit shit? I'm so worried.

LAURIE: They're following us.

DREIBERG: All right. Mission accomplished.

DREIBERG: What the hell -- ?

LAURIE: It's a peace rally. The CTU's just opened fire on the crowd.

DREIBERG: Oh, Laurie. Jesus. No.

DREIBERG: This'd better not be what I think it is.

LAURIE: Okay!

LAURIE: God, you sound like Jon. -- Turn around.

DREIBERG: What are you up to?

LAURIE: Don't look. Turn around.

LAURIE: Dan! The spare costumes! I can't believe you kept them.

DREIBERG: Me neither. Mine barely even fits. The thing is, I try to remember why we did it, and I can't. Helping people, or righting wrongs, or trying to save the world . . . I don't know. It all seems so abstract.

DREIBERG: I took her out a couple of summers back. Scared the hell out of some cows. -- I wonder if she'd make it down to Antarctica.

LAURIE: Antarctica??

DREIBERG: Adrian's headed down to his secret retreat. He invited us to come along. I've been thinking. If things do get nasty . . . it wouldn't be a bad place to sit out a war.

LAURIE: Would you want to sit out a war? I mean -- what would be left.

DREIBERG: You and me.

LAURIE: The Owlship. I can't believe it.

DREIBERG: -- I thought it was time for a routine maintenance check.

LAURIE: Enough is enough, Daniel. Where exactly are we?

DREIBERG: Memory lane.

DREIBERG: -- What is it.

LAURIE: I know what you're thinking. You'd be a lot safer if I weren't around.

DREIBERG: Laurie --

LAURIE: I'm an open target, Dan. If you're with me --

DREIBERG: With any luck, the world'll end before we get ours.

LAURIE: Ohh. I could use some dinner. Who was that on the phone?

DREIBERG: One more down. Someone tried to kill Adrian. . . . First time I've ever heard him scared.

LAURIE: I just realized. I'd never seen his face. I guess it was just a matter of time. He's totally -- Daniel? What's wrong?

DREIBERG: The Comedian . . . Jon . . . now Rorschach.

LAURIE: Eight cops? Oh, great. A jury's gonna love that.

DREIBERG: Are you kidding? If they put him in jail he's dead. He'll never get to trial.

DREIBERG: No wonder Adrian's rich. You use that stuff?

LAURIE: Sure. It works. I mean, look at this face, Daniel. I'm thirty-eight years old!

DREIBERG: I don't mind getting older. I'm obsolete anyway. Why try to hide it?

LAURIE: I like the way you look. It's strange with Jon. He doesn't age. His face doesn't change. But you, Daniel, you look . . .

DREIBERG: Old?

LAURIE: Not at all. You look very -- dashing. Here, you pick one.

DREIBERG: . . . What?

LAURIE: Pick a record. I feel like dancing.

DREIBERG: I told you I was a little bit out of step. A lot of the old stuff I listen to -- it never came out on crystal.

LAURIE: I'd say you stalled out about forty years ago. Nellie Lutcher -- Louis Jordan -- I've never even heard of these people.

DREIBERG: Play one. Educate yourself.

LAURIE: His what?

DREIBERG: His . . . whatever.

LAURIE: I'm not his . . . whatever. Okay?

DREIBERG: Oh. No. Sorry. I'll be right down the hall if you want me . . . I mean, if you need some aspirin, or --

LAURIE: I'm gonna take a warm bath and sack out. -- You've been really sweet. Sleep tight, okay?

DREIBERG: Laurie, wait. I've got a spare room. It's empty. If you'd like . . . LAURIE Oh Daniel, thanks, but I couldn't. You'd just be all nervous about --

DREIBERG: No, screw that. What you were saying before, it's absolutely right. -- I'd love to have you stay.

LAURIE: You're sure?

LAURIE: They're not following me, Dan. I mean -- Jon's gone, we're right on the brink of World War III. Nobody cares about the Watchmen.

DREIBERG: Maybe not, but why take chances?

LAURIE: Dan, what are you so scared of? I mean, me, I've spent all these years keeping Jon together, and now that it's over I feel -- I feel glad. I'm finally free to, to go out and live my own life, and --

DREIBERG: Christ yes, I went in for a cancer scan first thing. Gave me a couple of rough nights, I'll tell you . . . How about you, Laurie?

LAURIE: Oh, yeah. They gave me a clean bill of health and then booted me the hell out. No expense account. No place to live.

DREIBERG: You'll find something. -- I should go. You and me, seeing each other, someone might put two and two together . . .

LAURIE: Damn straight.

DREIBERG: Damn straight! We were heroes.

LAURIE: Of course, we looked like idiots in those bondage outfits.

DREIBERG: Well, that was Adrian's idea. I know he's the smartest man in the world and all that, but -- talk about publicity hounds . . .

LAURIE: Hey. You remember that nut in the hockey mask? With the asthma? What was his name . . .

DREIBERG: Oh yeah. The one that used to confess to everything? Hoping we'd beat him up?

LAURIE: That's the one. Whatever happened to him?

DREIBERG: He pulled it on Rorschach . . . and Rorschach dropped him down an elevator shaft.

LAURIE: Okay, okay. You made your choice. You went underground. Some of us made other choices.

DREIBERG:

DREIBERG: Sorry, it's this thing with Blake. I mean, you don't really think anyone's out to get us -- do you?

LAURIE: Dan, are you really that paranoid? Let's face it, Eddie Blake was no Mother Teresa.

DREIBERG: Psychotic pig. He had it coming. Mr. CTU . . .

LAURIE: Now wait. We all had the same option as Blake. It was work for the government or do time.

DREIBERG: Fine, but the Civil Terrorism Unit? It's a fucking Gestapo! Dirty tricks -- political assassinations --

RORSCHACH: . . . And they call me a fucking nut.

DREIBERG: Adrian. Its too late. The world is blowing up as we stand here.

DREIBERG: Adrian. What are you doing? Why wouldn't you let us in?

RORSCHACH: He's the one. He's been the one all along. Stalking us.

DREIBERG: Adrian -- you? You killed Blake, and --

RORSCHACH: What happened?

DREIBERG: The guidance system's fried. I had to switch to manual. -- Some kind of massive electromagnetic shockwave.

RORSCHACH: What caused it?

DREIBERG: Don't know. Nothing I can think of -- -- outside of a nuclear blast.

RORSCHACH: Sorry, Daniel. You've always been a good friend. I know that. Sorry about Laurie.

DREIBERG: Okay, let's just . . . thank you.

DREIBERG: We're running, Rorschach. We've got no place to go. We're hightailing it down to Adrian's.

RORSCHACH: Veidt's assassin. Leads to follow. Can't just --

DREIBERG: Cases, leads -- they don't matter, Rorschach. The world's about to end. If someone is trying to kill us, it doesn't matter.

RORSCHACH: Coward. Giving up.

DREIBERG: SHUT UP, Rorschach.

RORSCHACH: Where's Laurie?

DREIBERG: I don't think she's coming with us.

RORSCHACH: How do we know they've got cancer? Could be part of massive propaganda scheme . . .

DREIBERG: Come on, Rorschach. Gimme a break --

RORSCHACH: CTU. Could be behind Dr. Manhattan frame-up.

DREIBERG: What do you mean, frame-up?

RORSCHACH: Obvious pattern -- all ties in --

DREIBERG: Are you saying that someone would risk starting World War III just to get back at us? What about all those poor shits with cancer?

DREIBERG: I don't know if you heard. A hired gunman tried to off Adrian.

RORSCHACH: Veidt's a fool. Tried to warn him about new information. Sicced his mangy cat on me.

DREIBERG: What new information?

RORSCHACH: Blake investigating missing scientists for CTU. Dr. Manhattan somehow involved . . .

DREIBERG: . . . That was quick.

RORSCHACH: Toilet clogged. Short fat turd. Let's get out of here.

RORSCHACH: Maybe. Or maybe somebody's finally caught up with us. Somebody with a grudge. Thought you might want to spread the word.

DREIBERG: Hey. Hey. If you don't mind, use the back stairs, all right?

RORSCHACH: So do I. So do you.

DREIBERG: Rorschach, that was a long time ago. I mean, that -- that's just paranoia.

DREIBERG: Sure. You got some kind of -- bean juice on it.

RORSCHACH: Human bean juice. The Comedian is dead.

RORSCHACH: Hiya, pardner. Long time no see.

DREIBERG: Did anybody follow you? See you come here?

JON: I can fix it.

JANEY: -- What?

JON: My dad's a watchmaker. I'll put it back together for you. Better than ever.

JANEY: Stupid watch. Stopped again. Do you have the --

JON: Janey, will you marry me?

JON: Nothing wrong with ketchup.

JANEY: Jon Osterman, you don't act like a Princeton boy. What's a big lug like you doing in a place like this?

JON: Anything for science, I guess. Janey, there's something --

JANEY: We should get back -- What?

JON: Nothing. What were you going to say?

JANEY: We should get back to the lab. You okay, Jon?

JON: I'll say. If we ever get off this looney-tune project, I'm gonna head straight for civilization and buy me a big thick steak.

JANEY: With lots of ketchup?

VEIDT: No comment.

JUSTINE: Did you know he was back on the streets?

VEIDT: I did not. Now get out of my way!

JUSTINE: Isn't it true that you --

VEIDT: Sphinx brand. When I got out of weapons design, I wanted to move into a more . . . humanitarian area. I was thinking: what would do some good in the world? And I thought: why not a genetically-altered tobacco, that no only doesn't cause cancer -- but cleans out your lungs as you smoke it? In fact I think I'll have one now. Care to join me?

JUSTINE: Thanks, no. But it's a wonderful product. Now Adrian -- your old colleague Dr. Manhattan has just left the planet amid rumors --

VEIDT: No. No. Cut. -- Justine, we agreed. No questions about the Watchmen.

JUSTINE: Oh sweetheart, just a quick one.

VEIDT: No. We laid out very careful ground rules --

SCHMIDT: All right, Miss Juspeczyk. Pack your things.

LAURIE: Am I free to go?

SCHMIDT: You're free to do whatever you goddamn well please. Let's move it.

LAURIE: I don't know why you've been keeping me here, but you're in deep shit --

SCHMIDT: Oh, I am, honey. You see, Russian tanks are crossing the Afghan border this very minute. And we are all of us, every living soul, in deep, deep shit -- because our number-one strategic weapons has finally flipped out.

LAURIE: Jon?? You mean he's --

SCHMIDT: That's right. Your meal ticket's flown the coop. That blue bastard has apparently left the planet.

SCHMIDT: I'm terribly sorry.

LAURIE: What does this mean? What does it --

SCHMIDT: Six to eight months. That's with treatment. -- Perhaps now you can see why it's so vital that we locate your . . . friends.

LAURIE: That's it. This is all a trick, isn't it? Some kind of horrible joke to make me --

SCHMIDT: Sit down, Miss Juspeczyk. As I mentioned, the people in this file are all close associates of Dr. Manhattan. They have something else in common as well. They've all developed a fairly . . . exotic form of lymphatic cancer.

LAURIE: What are you saying? That Jon is radioactive?

SCHMIDT: Their real names, please.

LAURIE: I don't know their real names.

SCHMIDT: You're lying, Miss Juspeczyk.

LAURIE: I don't know their real names!

SCHMIDT: You're not "protecting" anyone. These people's lives may depend on the answers you give. These are all former associates of Dr. Manhattan --

LAURIE: Then why don't you ask him?!?

VEIDT: Nasty cough. -- Try one of mine. Darling, you need to get out of the house. Why don't you give Daniel a call? I'm sure he'd be glad to hear from you.

LAURIE: Maybe I'll do that.

VEIDT: I'm sorry about Blake.

VEIDT: He's a little farther gone every time.

LAURIE: Stay, Adrian. I just -- every once in a while, I need to talk to someone human. He doesn't think like we do. He doesn't even feel what we feel. I mean -- he even scares the research teams.

VEIDT: Laurie -- he's the most powerful man who's ever lived. He's changed the world.

LAURIE: I know. I shouldn't be saying this. He's happy, he's content, he's doing his work --

VEIDT: What about you?

LAURIE: I suppose I'm serving my purpose, aren't I. I'll ring for the guards.

LAURIE: Adrian! Don't leave so soon. I --

VEIDT: I'll take a raincheck, Laurie.

LAURIE: Please.

LAURIE: Don't rub it in. I live here.

VEIDT: And how's life with the walking H-bomb?

LAURIE: He's in by the superaccelerator. -- Let me take your coat.

LAURIE: Adrian.

VEIDT: Laurie! Good to see you.

RORSCHACH: Two things I hate. Street mimes . . . users of recreational drugs.

MOLOCH: No, no. You got it all wrong. I been on the case, Rorschach, I got something for you.

MOLOCH: Rorschach, you're talkin' heavy duty stuff. I got nothing to do with --

RORSCHACH: Worked both sides of the fence. Ask your old buddies in the CTU.

MOLOCH: CTU? Jesus. You don't think --

RORSCHACH: Don't know. Ask around. I'll be back.

RORSCHACH: Terrorist. Radical agitator. Stool pigeon.

MOLOCH: ALL RIGHT! ALL RIGHT!! -- How'd you find me?

MOLOCH: I don't know who you are buddy, but I swear to God, you got the wrong guy.

RORSCHACH: Edgar William Jacobi, aka William Edgar Bright, a.k.a. Moloch.

MOLOCH: You're making a big --

RORSCHACH: Call off the cat and I'll kill you, Veidt.

VEIDT: Before you do that, you might want to look at what I've been looking at.

RORSCHACH: Veidt. You're the one who started World War III.

VEIDT: No. I just hastened the inevitable. He's been ready to blow for years. I knew all it would take was a little push. So I, uh . . . gave his friends and associates cancer.

RORSCHACH: Gila Flats -- place where Jon turned into . . .

VEIDT: Dr. Manhattan, right. Now if you boys care to join me, we'll go save the world.

RORSCHACH: Bigger than I thought. CTU involved . . .

VEIDT: Yeah, I've heard all about your conspiracy theories. Now I've got a roomful of cameras in there. I want you out. Now. And whatever you're doing, knock it off. You're making us all look bad.

RORSCHACH: Fate of the world at stake, Adrian. Can't get too worked up over bad press.

RORSCHACH: New information.

VEIDT: Ever see one of these before?

RORSCHACH: Too important for telephone. Comedian -- Dr. Manhattan. All linked up.

VEIDT: What is that ungodly smell?

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Trailer
Watchmen | 4K Trailer | Warner Bros. Entertainment
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Watchmen - Teaser Trailer