Suicide_Saint

I would call this the worst movie I've ever seen, but it isn't even a movie. This is 80 minutes of mindless self-indulgence disguised as something the filmmakers probably want audiences to view as artistic. There is nothing artistic or even worthwhile here. The creation isn't shocking, vile, or depraved as the creators would like to think either. It is childish, poorly crafted, and dull beyond belief. I've read numerous times that the special effects are what sells this so called film, but there is no way any part of this film can salvage this absolute timid wreck of an attempt at shock cinema. If you want shock cinema, watch Un Chien Andalou, A Serbian Film, Battle Royale, Bedeviled, Cold Fish, Dear Zachary: A Letter to a Son About His Father, Eraserhead, Gummo, I Saw the Devil, Irréversible, Oldboy, Strange Circus, Suicide Club, or Zero Day. This is pure garbage that any idiot could replicate.

Though some may argue the merit of the scene with the coyote as foreshadowing, it was nothing more than superfluous and uncomfortable. Once the protagonist and his girlfriend arrive at a get-together with old friends, it is painfully obvious that something is amiss. It does not take long for the incredulous cult theme to manifest due to the insane appearance and ramblings of the protagonist's ex-wife. The film drags on, attempting to create a mythos or intrigue surrounding "The Invitation" cult that the ex-wife and a few others discovered in Mexico. They proclaim this "invitation" alleviates all sentiments of pain, negativity, and suffering. After some red herring paranoia portrayed by the main character, the film finally reaches the predictable and incredibly dull climax emulating Jonestown in which the guests are served poison (albeit unknowingly to most).

I'm certain all involved worked hard to try and produce something of which they could all be proud. However, "The Invitation" simply repeats the stereotypes associated with religious cults rather than bringing anything novel to the narrative.

Just as with every previous film, Snyder's grandiose visuals supersede and essentially suffocate any opportunities for intriguing plot, character development, or anything beyond CGI extravagance. The film presented too much and not enough simultaneously. The visual effects, dream sequences, and other traditional tropes of an action drama stood in the way of getting to know or care much about what is going on in this "universe."

PROS - Ben Affleck was a decent Bruce Wayne / Batman. - Henry Cavill remains a solid choice for Superman. - Aqua Man was barely shown. - Diane Lane, Laurence Fishburn, and Jeremy Irons were all solid in their minor roles. - If you're into special effects, you'll probably enjoy the absurd amount showcased in this film.

CONS - Jesse Eisenberg - Snyder apparently forgot that Batman does NOT kill people - The "battle" between Batman and Superman lasted approximately five minutes of the 151 minute run time. - Batman's origin story is repeated and used to accent a major point within the film. - Far too much focus on Lois Lane (three heroes and she still shows up and plays a role in nearly every major battle sequence) - Lack of story and character development - Various plot holes - Ad naseum...

This is likely the last superhero film I will waste my time viewing, as the superhero "team" concept is already abysmal. Showcasing numerous heroes / super humans in one film takes away from the development, and therefore, the connection to the hero. "Oh well" says Hollywood; we're still making a killing!

Despite the fact that the lead character, Frank Murphy, may appear to be a cross between Peter Griffin and Hank Hill, this show is nothing like the shows of the aforementioned characters. "F is for Family" is a brutally honest family and workplace comedy set in the early 1970s. The humor is no-holds-barred in regard to the doldrums of a lower-middle class family. Netflix does not rely on cutaway humor or awkward naiveté. Rather, Frank and his family cut close to the bone for anyone who grew up in even a remotely similar family dynamic. It would be easy to dismiss this show since so many animated family comedies have come before, but this show is worth the viewing time. At only 6 episodes, the first season ends too quickly and displays plenty of potential for continuation. Like BoJack Horseman, this show is not intended for younger audiences. Prepare to laugh, be surprised, be disheartened or even depressed, and most of all, to relate to the Murphys while viewing "F is for Family."

Somehow, nearly every important scene from this film was crammed into the two and a half minute long trailer. I am a lifelong horror fan, though the genre has produced more garbage than good, and was really looking forward to an original idea. I was intrigued when I first read about the project, excited when I heard some of the soundtrack, and ecstatic when I saw the trailer. Sadly, that was a mistake. As I watched in anticipation, each scene's suspense was undermined by the fact that the trailer had given away precisely what would happen. 10-15 minutes of build-up, then something from the trailer... Another 10-15 minutes of build-up, then another shot from the trailer.

The STD (sexually transmitted demon - I'm sure someone else has made that joke, but I couldn't read through every review) was ultimately a somewhat laughable idea for a film. The acting was decent, the directing / camera angles, and cinematography was fine, the suspense would have been great if not for the trailer, and the overall story / execution was also acceptable. The only thing that blows me away about this film however (other than the seemingly unwarranted critical praise) is the soundtrack. MAJOR props to Disasterpeace for a frightening soundscape.

I really, honestly feel that I would have enjoyed this movie so much more if it were not for the trailer revealing so much. Note to self: never watch a movie trailer again. The last horror film I truly enjoyed was "A Girl Walks Home Alone at Night" and coincidentally, I knew nothing about the film beforehand. I simply put it on & enjoyed it. That's the way to watch movies anymore, I suppose.

Comics were a part of my youth. I enjoyed a number of Marvel's heroes back then. There is no denying that the superhero phenomenon has enchanted audiences everywhere. Marvel has done an excellent job capturing the sentiments that drew so many to these heroes in our younger years. I'm not a kid anymore though and neither are a LOT of Marvel's fans. It doesn't seem to have impacted their success at all, but for the small portion of us hoping for something a little more "grown-up" from Marvel, Daredevil is the perfect show.

Daredevil always seemed a little like Batman in that he had no "out of this world" superpowers. Rather, he was formed by events in his childhood and grew up with a burning desire to defend the good people in his city. The double-life weighs heavily on aspiring lawyer Matt Murdoch, but he is seemingly "possessed" with the desire to cleanse his city of the wicked. A darker city, a villain that doesn't seem too far removed from some of our corrupt rich and powerful, bloodshed, violence, profanity, death, and betrayal. Daredevil doesn't feel dumbed down or softened in any way to appeal to wider audiences. That is precisely why it is so effective.

Now, if only Spawn could get a reboot that would wash away the memory of that horrid film as this show has done for Affleck's Daredevil.

If you are a fan of farts, miscarriages, turds, a human versus dog fight, or a woman indulging a man's crush fetish, than perhaps this movie was made for you. Otherwise, even the most seasoned horror fans are likely to be disappointed with this one. Despite more than 2 hours of run time, each segment feels very brief and unable to create anything of substance. At the same time, many of the segments are so unbearable that the next and possibly less god-awful short cannot come soon enough. I have been a tremendous fan of horror my entire life. As well, I am a proponent of creative integrity and freedom from Hollywood's repetitive idiocy. However, if this is what these directors came up with with "artistic freedom" then perhaps they should try another line of work. I find nothing about this film terrifying, humorous, or entertaining in any way. Rather, each segment was dull, predictable and seemed more interest in pushing the boundaries of the grotesque rather than trying to create something interesting. One can only assume that an incredibly cheap production cost is what lead to a sequel to this disaster of a collection. Hitchcock would be rolling over in his grave if he knew this abomination passed for "horror."

Like the incessant influx of superhero films currently pervading Hollywood, "adult" animation has become a genre that borders upon an overstayed welcome. As a result, my personal expectations for the Netflix original series "BoJack Horseman" were not particularly high, but I do like to keep an open mind. Much to my delight, the series provides humor, drama, well-written and connected story lines as well as solid character development. BoJack is simultaneously a disdainful but overall likable character performed wonderfully by Will Arnett. He is joined by a fabulous cast of characters / voice actors that instantly bring this show to the level of other modern animated successes such as Bob's Burgers. In fact, I could absolutely have pictured H. Jon Benjamin as BoJack, but he already seems to lend his voice talents to so many different areas. The series also provides a fairly original artistic presentation as the characters almost resemble a painted portrayal at times. The show is not only humorous, but also covers subjects such as unrequited love, self-loathing, substance abuse, betrayal, and other more serious concerns that really serve to draw the viewer into the series. Overall, "BoJack Horseman" is an incredibly impressive entry into the burgeoning repertoire of successful Netflix original programming and I hope to see this series continue for years to come.

I was first introduced to John Carpenter's "Halloween" at an early age and have been an avid horror fan ever since. 20+ years later, horror films are still a constant among my viewing habits. However, most films in the genre have become predictable, repetitive, and anything but what they are intended to be: scary. The found footage style is especially clichéd, which lowered my expectations for this movie further still. Needless to say, this film absolutely shattered all of these preconceived notions.

"The Poughkeepsie Tapes" is an unrelenting, voyeuristic look into the world of a depraved and very successful serial killer using the "hand cam" and documentary style to an absurdly unsettling degree. The presentation, cinematography, acting, audio, costumes, pacing... essentially every portion of this film is chilling. This film never saw a cinematic release (despite a trailer displayed during "The Mist") and even more baffling, isn't available on DVD. This only adds to the mystique of the film, of course. The degree of realism is uncanny and was achieved without the pretentious "based on a true story" tagline.

Without giving anything away, Stacy Chbosky gives an absolutely haunting performance as victim Cheryl Dempsey despite a small amount of screen time. In fact, everyone from the realtor at the beginning to the authority figures "interviewed" throughout the film are incredibly convincing. Not only is this a must-see for horror fans, this film is a testament to the fact that you do not need "A-list" actors, bloated budgets, or absurd amounts of computerized effects to make a compelling film. "The Poughkeepsie Tapes" is a frightening film experience and will, no doubt, leave a lasting impression on even the most seasoned horror movie veterans.

When I heard some time ago that Gareth Edwards, director of the fabulous film "Monsters" had been chosen to reboot the Godzilla franchise, I was ecstatic. "Monsters" was such a brilliant film in that the monsters played only a very small role in a well-crafted film about people dealing with unprecedented circumstances. The film was carried not by special effects, but by character development, engaging plot, solid pacing, and breathtaking visuals on a small budget. With the Godzilla reboot, it's as if Edwards purposely went in the exact opposite direction with a recognition that today's film-going audience isn't looking for any depth whatsoever, but rather a ridiculous amount of computer-generated effects in which all other elements of the film (characters, plot, acting, pacing, script, everything) are thrown completely to the wayside.

Despite the absurd amounts of money that must've been spent creating the film, Edwards' "Godzilla" never breaks free of the b-movie elements of the 1950's. I don't know that this quite counts for a spoiler, but the plot of the movie was truly as simple as: Nuclear something or other, giant monsters, mass destruction, monster battle, the end. The lead characters hardly seemed to react to the fact that there were giant monsters running a muck. They simply geared up, grabbed some nuclear weapons (literally, they were carrying nukes by hand) and pursued the creatures. I suppose it's my fault for expecting a giant monster movie to have any depth. However, even if you only go to this movie for Godzilla, you'll see him for only an incredibly small portion of the film. Even the 3D aspects of the film seemed elusive / non-existent. Save your money and go to the zoo or something. I guarantee the creatures there will be much more entertaining.

For any fans of Simon Pegg or independent cinema who may potentially be discouraged from viewing this film due to the low ratings, don't be fooled! "A Fantastic Fear of Everything" is an incredibly well-done film from start to finish. Pegg delivers a brilliant performance as an agoraphobic writer attempting to delve into the world of Victorian killers for a new book project. His paranoia forces him into a number of hilariously unfortunate and unexpected situations. This is not your typical middle school toilet humor nor does the film set up jokes you can see coming a mile away.

Overall, the film is humorous, entertaining, and incorporates a number of dark, unorthodox story-telling features (including bits of animation). Therefore, if you primarily enjoy big-budget blockbusters or expect that every film featuring Simon Pegg to be "Shaun of the Dead" that sadly, you will probably not enjoy this film. However, if you appreciate story-telling, exemplar acting, and something a little different than the norm, I would highly recommend this film.

It should come as no surprise that "Zombie Ass" truly stinks. The film begins with a brief, but bizarre sequence of a zombie being forced to vomit bile that is apparently being salvaged to be fed to / swallowed by a Japanese school girl.

The plot beings in traditional horror roots. A group of young people are off on a camping trip. The characters include three attractive young women, one bad-ass drug-user, and the nerd who overreacts to every situation. The protagonist, Megumi, reveals that she has agreed to go on this camping trip in an attempt to escape the pain of her sister's death from one year earlier.

As it turns out, the bustiest of the three babes has planned this camping trip in order to locate a parasite that will make her thin enough to pursue her dreams of being a model (which seems absurd, as she is already quite attractive). Unfortunately, these parasites do not turn out to be the helpful type that infested Fry's gastrointestinal tract in Futurama, but a devastating monster that takes control of its host while simultaneously causing flatulence and inconceivable stomach pains.

To avoid spoiling the film while still indicating the level of grotesqueness, the busty babe finds herself in dire need of a toilet. The camera does not shy away from her very revealing position as she attempts to relieve herself in a liquidy turd-filled hole in an old wooden outhouse. As she farts and tries to force out whatever is inside, a zombie begins to boil up from the pit of sh*t and proceeds to attack / fondle her, smearing fecal juices all over her in the process.

The film boasts a certain level of absurd humor, but overall lands exactly where the title suggests: in the toilet. Aside from the three fairly attractive gals, the only additional positive note is that I was able to make it through the entire film. If you've had a few drinks and find yourself with nothing better to do late one night, perhaps give Zombie Ass a try. It was far from the worst film I've ever seen, but overall simply another forgettable gross-out flick.

There is a reason that "Srpski film" or "A Serbian Film" was initially banned in so many countries that is not directly related to the levels of graphic sex and violence. With his debut film, director Srdjan Spasojevic issued a very clear and devastating challenge to the status quo. Do not be fooled into thinking that this is simply another extreme gore-fest such as the "August Underground" series or the elder "Guinea Pig" series. The actors in "Srpski film" delivered outstanding performances. The film also boasts solid cinematography, special effects, and an unsettling musical score.

These intense and disturbing images serve to convey a very poignant theme of power and control. Speaking on this theme, Spasojevic indicated that the film was meant to convey "...a diary of our own molestation by the Serbian government... It's about the monolithic power of leaders who hypnotize you to do things you don't want to do." This is not unlike Pier Paolo Pasolini's "Salò, or the 120 Days of Sodom" which attempted to convey the corruption perpetrated by fascists after the fall of Benito Mussolini's Italy.

"Srpski film" unfolds, showing an aging porn star who is in need of money for his family. Given his state of desperation and small, lingering desire to take part in the activities of his past, he is easily manipulated into taking part in a film in which no details are disclosed to him prior to shooting. The film crew and director are either well-dressed or wearing secret service-like uniforms, representing everyday figures of power such as the rich and the police force and or military. Think of how Hitler was able to control the German people or how most of our governments control us now. In most cases, the very rich and powerful can do things that are clearly not in our best interests, sometimes horrific things, and we simply continue to follow orders in an attempt to maintain the status quo. Spasojevic's film brilliantly captures the notion of control and purposefully makes use of these extremes in an attempt to shake people from their apathy. In essence, he is asking the question: "How bad will things have to get before people wake up and stop allowing themselves to be controlled by the rich and corrupt?" If you have a taste for extreme cinema or are simply looking for something well outside the lines of traditional horror / Hollywood cinema, keep an open mind and give "Srpski film" or "A Serbian Film" a try. If you can see the horrors for the messages they truly convey, this should result in an unforgettable cinematic experience.

To save yourself a great deal of time, simply answer the following question: Have you ever viewed a film about the topic of exorcism? If your answer is yes, then you've essentially seen "The Conjuring" as well. The cinematography was well-executed and the actors provided fairly strong performances. Aside from the aforementioned aspects, the film disappointed on all levels and fell into predictable paranormal proceedings. Do any of the following sound familiar:

-Clocks stopping at the same time -Significant drops in temperature to indicate a paranormal presence -Doors closing on their own -Subsonic rumbling noises -Young children seeing things others cannot -Girls being drug about by their hair by an unseen entity -Investigation of paranormal events leading to an inevitable need for an exorcism -And the coups de grâce, blaming the evils on a witch and her pact with Satan despite the fact that Witchcraft is a religion that existed long before Christianity and witches do not even believe in a "devil"

Overall, the film imply seems to espouse the prototypical dualistic Christian theology of God versus the Devil with a few cheap scares thrown in for good measure. Futurama was spot-on when Fry declared "...audiences don't want anything original. They wanna see the same thing they've seen a thousand times before." If this quote describes your sentiments regarding entertainment, then enjoy The Exorcist part 5,000... I mean, "The Conjuring."

It is no secret that humans are prone to violence. "The Purge" takes place in the United States, a country founded upon violence through the Revolution, savage dealings with Native Americans and Africans, and incessant involvement in wars throughout the world. Though the film itself remains relatively simple, it does touch upon not only humankind's thirst for blood, but on additional societal issues such as socioeconomic status, crime, and governmental control.

The film focuses upon the traditional cinematic nuclear family: a father who has just earned the spot as top salesman at his place of employment, a mother home cooking for her family while drinking wine, the teenage daughter messing around with her boyfriend (of whom dad does not approve), and the unusual younger sibling, a son playing with his remote controlled vehicle with a camera hidden inside of a half-melted doll. Okay, so the introduction to the son is a little strange, but the impression of that of a typical family unit.

The new founding fathers of America (in the year 2022) have created an event known as "The Purge" which has, according to the film, saved the country. During the purge, all crime is legal for a period of 12 hours. This allows mankind to "purge" the hatred, anger, and violence from their souls and contain these natural instincts to this 12 hour period alone. The reports indicate that, thanks to the purge, unemployment and crime now stand at record lows in the United States. However, the film suggests that this is because many Americans "Purge" by killing those too poor to afford the security systems sold by the aforementioned father played by Ethan Hawke. As we discover, these security systems, much like those available now, are simply a false sense of security and can be penetrated if the assailants so desire.

Compared to other films currently in theaters, "The Purge" presents a fairly original plot. Humans are inherently violent and man killing man happens every day. Therefore, why not attempt to regulate and contain this violence? Ultimately, however, the film falls into predictable patterns of main characters separating and aimlessly wandering in the dark with violent intruders abound. Furthermore, these intruders are reminiscent of those in the film "The Strangers" though not nearly as frightening. Also, with all crime legal for 12 hours, the only crime displayed by the film is that of murder, often via the use of firearms. One would think that robbery, rape, drug trafficking, and a myriad of other illegal activities would garner as much interest and attention as violence. Regardless of some predictability, simplicity, and familiarity, The Purge was still more entertaining the majority of the mindless special effects-laden nonsense churned out by Hollywood's backside. Are you ready for The Purge? See the film and enjoy the discussions that ensue.

To preface my review, I am a fan of Rob Zombie as well as a fan of the Halloween franchise. Furthermore, I am a connoisseur of the horror genre.

This was by far the most deplorable and most forgettable installment in the Halloween franchise, including Season of the Witch. If you have seen SOTW, you know just how serious this statement is. Enduring this rushed, patchwork film truly has no reward. Analyzing it time and time again ,this really will go down as one of the most tragic failures of the modern horror genre.

Rob Zombie posted many "hype blogs" about this film during the process of its creation. Through several clues, it was painfully clear this was nothing more than a paycheck for Rob. The aforementioned clues include: 1.) Zombie stated after the completion of his Halloween remake that he would not revisit the franchise as he felt he had exhausted the possibilities of the film.

2.) Zombie often referenced how he was "hauling ass" to complete this movie. Reading between the lines, he was not taking his time to craft a masterpiece.

The overall tone of this film is sleazier and more depraved than any previous Zombie feature. This filth-infested cinematography has worked well for Zombie in the past. However, in H2 it has quite the opposite effect. None of the characters illicit any connection or worse, any empathy. The characters are static, unchanging, and unable to rouse any emotions from an audience. What's worse is since when does Michael sound like an aerobics instructor when he kills people? His cold silence is a staple of what makes him an absolute villain.

Perhaps the most frustrating element of all was the re-emergence of his wife. Apparently, Zombie is unable to make a film without her. She died in the original and it should have stayed this way. Instead, we get a pretentious recycling of the Friday the 13th storyline as the mother "guides" Michael in his slaughter. As an avid Halloween fan, I have never liked the cheap rip-off known as Friday the 13th and feel insulted that Zombie would include something that so closely resembles that film.

In closing, Zombie should have went with his initial instinct and stayed far away from a Halloween sequel. I know he could care less what one fan thinks, but this has severely damaged my respect and admiration for him as an artist. Here's hoping that this is a one-time blunder and his future works will push creative and artistic horror in new directions.

What do classic horror films such as Night of the Living Dead, Psycho, Halloween, and others have in common? These films create an atmosphere of suspense, they illicit strong emotions, they tell a captivating story, and they accurately display characteristics of human nature that allow viewers to develop a connection. How many times have you watched a film and felt nothing when you see random teens being hacked to pieces by some anonymous maniac? Paranormal Activity carries on the traditions of horror classics like no film in recent memory, including the dreaded "Blair Witch Project." Let's be honest, once people discovered that it was not real footage, it lost all of it's ability to frighten.

Director Oren Peli takes a minimalist approach to the film. The simplification of the environment, characters, and camera angles allows the audience to focus on the events taking place. This can be a risk, as the acting and storytelling must be strong to maintain active engagement. The two young actors deliver strong, convincing performances. Also worthy of note is that the absence of activity and development of realistic surroundings make the escalation of the haunting delver such a significant impact.

The subjects of the film are Katie and Micah, a young couple in their 20's. We quickly discover that the two have been hearing some strange noises and have decided to document the occurrences in hopes of discovering / solving this incongruity. These characters are no doubt reflective of the target demographic of the film. Katie is a student pursuing a degree to become a teacher. Micah is a businessman (day trader) who has casual interests in sex, guitar, and electronics. Sound familiar?

One of the most fascinating elements of this film are the intricate parallels between the relationship and the haunting. At the onset of the film, Katie and Micah appear quite happy and undoubtedly comfortable with one another. Slowly, there relationship begins to diverge and unravel in direct correlation with the "occurrences". This separation begins with a very mild split in interests: Micah wants to film the two in some "extracurricular activity" but Katie will not agree to this. A small, but noticeable disagreement… Then, after the first evidence is captured, Katie invites an "expert" in the field of paranormal activity to the home against Micah's wishes. This character plays a small, but significant role in the film as he directly states that haunting are fueled by "negative energy." Even with this undeviating warning, we see a continual departure from equivalence between Katie and Micah. Micah's pride drives him to an uncompromising state of masculine defense. Micah's inability to "fix the problem" leads Katie to lose faith and place blame and misguided frustrations on Micah.

The culmination of the tribulations within the relationship occurs when Micah directly defies Katie's adamant request not to attempt any agitation of or communication with the presence. Micah "borrows" a Ouija board and further antagonizes the entity, leading to our first significant illustration of the growing power of this force. Katie is more enraged than ever with Micah; they leave the house in a climactic argumentative state. Immediately following Katie's outburst and the couples' departure, the Ouija board bursts into flames. This is paramount, as it symbolizes how tumultuous the emotions can be between two individuals. In other words, the success of one's relationship with his/her significant other is reflected in their surroundings. People in successful, rewarding relationships will often view the world with a more positive outlook. The more disparity, heartache, and despondence in a relationship, the more negative the surroundings. Shattered relationships lead to addictions, depression, and in some cases, suicide. Is it such a stretch that Katie and Micah's tempestuous relationship could bring about this dreadful haunting?

Watch this film alone or with that significant other…at home…with the volume up and the lights down. Watch for moving shadows…listen for creeping footsteps…believe in Paranormal Activity.

Snyder's Watchmen is a decidedly dark and visceral film which candidly illustrates the flaws of heroes. Unfortunately, this is as detrimental to the film as it is advantageous. It is of importance to note Snyder stays fairly loyal to the graphic novel. However, possibly due to the continuing "development hell" that surrounded the film, everything comes across as compulsory and superficial. The aforementioned flaws of the heroes are painstakingly brought to the audiences' attention in fragments. For instance, the Comedian is a rapist, Dr. Manhattan has nearly lost all ability to relate to humanity, Rorschach is blindly obsessed with "justice," and Ozymandias determines the only way to save humanity is by destroying a large part of it. In addition, Silk Spectre II exhibits her adulterous nature in a very awkward sex scene on board Nite Owl II's flying machine. Is the film sounding pretentious? Well, it most assuredly is.

Among the actors there is not an inspired, let alone a stand-out performance. Every character, including our narrator Rorschach, seem merely to be going through the motions. This lackluster presentation from the cast epitomizes the entirety of the film, which is carried largely by grandiose visuals and reliance on the original story rather than any new or interesting interpretation of the work itself. Further weaknesses in the films include the melodramatic musical cues that sound as though they came directly from Snyder's "favorite iPod play list." Simply because the film was set in 1985 should not have meant that all of the music featured within the film come before that time period. For instance, it was difficult to contain sneers of disgust as 99 Luft Balons kicks in. Also, songs such as The Sound of Silence, Hallelujah, and All Along the Watchtower are so comfortably familiar that it detracts from the gloomy, unrefined focus of the film. Moving away from musical discrepancies, was the glowing blue genitalia truly necessary? This is one aspect of the graphic novel Snyder could have deviated from without much complaint from fans.

Arguably, the most significant areas of discontentment stems from the closing sequences of the film. These shortcomings will be broken down into three parts.

1.) Ozymandias obliterates a large portion of the population and leads everyone to believe it was the fault of Dr. Manhattan. His reasoning: "A world united in a peace... they had to be sacrificed." Given the history of our tumultuous existence as a species, it is difficult to believe this would end in peace. It is far more likely that weapons creators across the globe would immediately begin work on larger and more powerful armaments in hopes of destroying the ostensibly omnipotent Dr. Manhattan.

2.) Ozymandias has effectively harnessed the power of Dr. Manhattan and used it to implement the aforesaid destruction. However, if he had successfully discovered a means to utilize this power, could he not have just as easily used this power to prevent nuclear war entirely? At the very least, this newfound power could have been exercised to wipe out the current nuclear weapons supply.

3.) The remaining characters of the film seem altogether indifferent to the fact that Rorschach was killed by Manhattan, Manhattan was betrayed by Ozymandias, and Ozymandias perpetrated as many or more murders than Adolf Hitler.

Aside from the compulsory nature of the film, limited artistic interpretation from the director, lackluster performances by the actors, poor choice in musical cues, an ending that lends itself to questioning (not David Lynch open-to-interpretation questioning, but "what the hell were they thinking" questioning) and let us not forget the glowing blue penis, the film was not without redeeming qualities. The austere demeanor of the film is a welcome change from the typical hero film. Of course Christopher Nolan already perfected this with the new Batman movies, but Watchmen had a noir mystique of its own. The fight sequences, though a bit melodramatic, were choreographed well. Also, as was alluded to earlier, the film is an exhibition in technological progression. These fantastic effects helped to create the feel of a graphic novel.

Watchmen is not a revolutionary film, but it is worth the time it takes to view. It explores the flaws of heroes, delivers a dark, graphic mystique and exhibits stunning visuals all while staying relatively true to the original work of Moore and Gibbons. This reviewer's score is 5/10.

this movie is a joke. it's so horrible, i can't believe that anyone actually would invest money in releasing it. the acting was worse than daytime soap operas, the special effects were more fake than a supermodels breasts, the production was lower quality than a middle school play, the plot was as interesting as a job at the cracker factory, the succubi, who were supposed to be seductive, were as alluring as a steaming pile of dog doo, the music, which was performed by an artist called buckethead, was actually more entertaining than anything about this film. lucky 4 me i rented it free. all in all, worst horror movie i've ever seen.