Okay, so I went to see that little movie based on some four-color funny book that just hit theaters, “Watchmen,” and maybe it was the inundation that comes along with every big-budget movie like this, but when I finally got to see how Zach Snyder, David Hayter and Alex Tse rendered their homage to Alan Moore’s work, I was underwhelmed.

If only because, jesus, it’s like you hear “Birdhouse in your soul” every day for a year, right, then you go see Barenaked LadiesThey Might Be Giants? And they play it live and the whole crowd is erupting but you’re just sort of whelmed, neither over-nor-under.

But I’ll tell you: the Film Companion and Art of the Film coffee table books? They are so cool.

If only because, well, they’re clearly written by people who are very passionate about the comic, its philosophy, its meanings, and how its visual representation, as a comic (or a film) makes the philosophy and themes of the story reality. They’re both written, in short, by more or less complete nerds.

It’s weird. I was captivated by both books when I sat to read them a couple of weeks ago, before the movie came out. I couldn’t look away. The amount of work and detail that made it into the movie’s production was borderline fetishistic. It was the creation of a world.

Maybe I’m a process person, finding the work that went into the movie more enthralling than the movie itself. Anyway, check the books out. You will not be disappointed.

The deconstructionist middle finger of Alan Moore’s “Watchmen” showed an industry built around taking masked heroes seriously just how silly it was.

It was the punk kid in the back of the classroom who knew everything already, and was angry with and bored at the kid in the front of the classroom who didn’t know the answer but was the quickest to throw his hand in the air.

It told everyone to grow up, and they did. By and large, the Watchmen made Batman who we know today. It made Superman a demigod. It made the X-Men take their allegory seriously. It made the Punisher a big old anti-war parable. Comics were never the same after the final issue of that series, they say.

Zach Snyder’s “Watchmen” simply can’t live up to that. And I suppose I shouldn’t tell a guy to give something an honest try, because everyone should try. But Snyder’s a kid wearing his dad’s suit and tie.

Snyder isn’t as brilliant, as angry, as well-versed in the medium he works in, or, simply, as crazy as Alan Moore, but he loves Moore’s book, and his earnestness really shows. I feel like if Hollywood kept training on lesser Moore books, like, maybe if they had a different director keep taking stabs at “V for Vendetta” until they got it right every two years, maybe in 20 years or so we might have had a “Watchmen” movie as insane and as genius as the book.

See, the next comic book movie we get? It’ll still be a comic book movie. The absolute genre subversion of the source material didn’t come through with the adaptation, and that’s the movie’s central problem.

Beat for beat, Snyder did pretty well. The movie is weird, but not as weird as the book. It’s philosophical, but nobody’s got the brain Moore does. It questions the genre not of comic books, but of comic book movies, a genre only a bit more than a decade old in its current form, which started, (I hate to say I know this), with the stupefying success of the 1997 “Blade” movie.

I get the changes to the source material he had to make, which I really don’t want to discuss here. In a way, they do sort of work: the movie is less a sprawling epic than it is a taut novel, where everything in the story revolves around the central characters. I suppose given three hours (but it didn’t feel like it) and not a series which can take even the most assiduous reader a week to read cover to cover if they do it right, the movie did admirably enough, but if you go to the book’s deepest bit of strange, the chapter of Dr. Manhattan on Mars, you’ll get to the book’s philosophical core.

The movie? Not so much.

I suppose that’s the problem. A lot of the philosophy of the book had to be trimmed down to make room for the fight scenes which didn’t appear in the original in the first place.

But here’s what worked, as I’ve sure you’ve heard. Doctor Manhattan, the Comedian and Rorschach are practically trying to wrestle the show from one another. Billy Crudup is transcendent in the role, and where other people saw detachment in his character, I picked up on a great deal of sadness. The special effects team that created him, too, deserves no end of praise. The Comedian also was played with a layer of depth that one might not notice at first. And Rorschach? Jackie Earl Haley just walks away with it. It was amazing.

If the rest of the movie lived up to the promise of its central characters, I would have no problem calling it one of the best films I’ve seen in a long time. As it stands, though, the three best-played characters feel like they’ve walked into a lesser movie.

Go if you love the book already. You’ll spend the hours after the movie talking about where it went wrong.

Otherwise? Take the three hours and watch “The Dark Knight” again.

Watchmen.

It is not a perfect film.

That said, I have only this to say to Zack Snyder: You done good.

Snyder took on an unfilmable work of comic book genius and produced an extraordinary adaptation that profoundly affects its audience on every level of the spectrum: visually, emotionally, intellectually. Nonetheless, while the film is an accomplishment, it is not nearly the accomplishment that is the graphic novel; the differences in medium and scope make it impossible for Snyder’s “Watchmen” to reach the pinnacle of Alan Moore and Dave Gibbons’ “Watchmen.”

But more on that later. Anyone who has seen “300″ knows that Snyder has the ability to translate the aesthetic of a graphic novel into film, and “Watchmen” is no exception. In fact, the loving attention paid to every seemingly-minute detail is one of the reasons that this film stands up to multiple viewings. Snyder recreates some of the comic’s most iconic panels in ways that not only turn the film into a visual masterpiece, but make the fans, well, pretty damn happy.

One of the visual centerpieces of the film is of course Dr. Manhattan. To the casual viewer, the glowing blue man (and the many full-frontal shots of azure genitalia) might seem to be an odd choice among the sea of gritty, noir characters, but sans Dr. Manhattan, the hard-boiled detection and bloody fight scenes do not a “Watchmen” make. One of this reviewer’s fears was that Warner Brothers’ attempts to pare down the running time would cripple Dr. Manhattan’s character arc. Not to worry; the most important elements are preserved and in fact they form a breathtaking sequence that is one of the emotional linchpins of the entire film.

Billy Crudup’s mostly monotone performance was a daring (and ultimately compelling) narrative choice. Through Crudup’s understated performance, Snyder was able to address some of the philosophical questions that made the graphic novel so great.

Patrick Wilson as Nite Owl II (aka Dan Dreiberg) did an excellent job, but some of his story didn’t quite make it to the film and what did make the cut was slightly disjointed and unclear. A fault of either the studio’s running time fears or Snyder’s squeamishness with Nite Owl II’s hard–err, difficult personal problems (hard to believe given the amount of blue penis), Dan Dreiberg’s arc was one of the weaker ones in the film.

But the true weak link of the film was Malin Akerman’s Silk Spectre II. While the rest of the cast brought their game (notice I’m saving the genius Jackie Earle Haley for last), Akerman was good only in the sense that if she kept her mouth shut, she looked like Silk Spectre II. The problem was that she simply couldn’t deliver her lines anywhere close to the standard achieved by the rest of the cast. While the no-dialogue action scenes were fantastic, her performance was ultimately undercut by the fact that she looked like she was playing in “Watchmen: The Community Theater Presents.”

And there’s a scene on a ship in the sky that ends with fire, with a lot of awkward cuts and a terrible song choice, and I have to say that it was really one of the low points in the movie for me.

But back to the good stuff.

Rorschach.

In a stroke of genius, Zack Snyder fought to get Jackie Earle Haley the part and the effort paid off brilliantly. Haley was extraordinary as the masked noir vigilante, no mean feat considering the fact he spends a great deal of the film with his face entirely covered. Haley handles that setback deftly, his superb physical acting breathing life into the beloved character. Rorschach has almost all of the best moments of the film and he acts the hell out of them: equal parts finesse and presence. Simply put, if there is one reason for you to see “Watchmen” it is for Rorschach and Jackie Earle Haley’s performance.

So what’s the damage?

There are okay parts to this film, there are good parts, and there are some great parts which overshadow the mediocre to the extent that 95 percent of the film is stunning.
The other five percent has been rife with controversy for months: namely, to squid or not to squid. For readers of the comic book, it’s easy to understand why a giant alien squid would have a difficult transition to the silver screen. I for one don’t have a problem with it being cut, but rather with what they chose to replace it.

On the surface, the Not-Squid isn’t a terrible deus ex machina, but once you peel back that first layer it sort of falls to pieces at the first indication of logic. By the time that the Not-Squid hits the screen in the film, I was so amped up and excited that I’d have accepted any explanation without question. But the moment the credits started to roll, I was left a little deflated and disappointed with the direction Snyder and company went.

If that were the only problem with the end of the film, I’d probably be able overlook it in light of the sheer awesome of Rorschach or Dr. Manhattan. Unfortunately, Snyder spoiled us with his TLC in the rest of the film and the last 10 minutes felt disjointed and rushed. At the same time, it’s understandable; he was forced to blend key moments from the graphic novel (which were as outstanding as the other 95 percent) with the haphazard denouement of the Not-Squid conflict.

So my conclusions? Like the characters it depicts, Snyder’s film is great and yet ultimately flawed. But I choose to focus on the great half of that equation; Zack Snyder deserves accolades for not just the masterwork of vision but for the audacity to tackle “Watchmen” on the big screen.

So “Watchmen” is not a perfect film. But it is, without a doubt, a damn good one.

Watchmen is the latest in a line of big budget comic book-to-movie adaptations. Zack Snyder took the task of filming a book, which has been called unfilmable by everyone from casual fans down to the author, Alan Moore, and against all odds, made a very good movie.

Speaking of Alan Moore, with most of his defining works poorly translated to the screen, it’s understandable that Moore pulled his name from this movie, and everything to do with it. His classics “From Hell,” “V for Vendetta” and “The League of Extraordinary Gentlemen” have made their way to the big screen, and have ranged from poorly adapted to downright horrible.

Nowadays Mr. Moore comes off as a cynical old curmudgeon but he’s certainly earned it. Unfortunately, he should see “Watchmen,” a movie that finally does justice to its source material. Perhaps he would have left his name on it, but that won’t ever be known.

What we do know is the influence by “Watchmen’s” other creator, the artist David Gibbons, greatly impacted the final film product. Gibbons did a lot of conceptual work for the movie and it shows. As a fan of the graphic novel, I felt like I was watching the panels moving in front of me. The bright colors popping off the dark backgrounds were taken directly from the book, and surprisingly still work. The oranges and purples, used to accent shadows and skylines is another great touch from the book that made its way to the silver screen. But even without the book to stand on, the movie brings a lot to the table. For lack of better words, the movie is visually stunning. From the sheer spectacle that is Manhattan’s clockwork castle, to the grimy alleyways that Rorschach combs over, to the Egyptian style on Ozymandias’ Antarctic watchtower, everything looks wonderful and well designed. But in today’s movies, it helps to look breathtaking, but you also need to give a story to match.

Without giving too much away, Watchmen, at its heart, is still a superhero story, despite its adult themes. We follow a handful of current and former masked vigilantes, as they put the costumes on to try and save the world from something much bigger than the thugs they dealt with in their heyday.

Rorschach (Jackie Earle Haley) is an objectivist detective, with ideas verging on paranoia, who keeps record of the whole event in his journal.

Nite Owl (Patrick Wilson) is the alter ego of the nerdish Daniel Dreiberg, who has lived his life in the shadows, whether they are of the original Nite Owl, or of his own life in costume. He is the closest thing to a hero, in the traditional sense of the word.

Laurie Juspeczyk (Malin Akerman) was the Silk Spectre, a second generation hero who has trouble dealing with her family and her past, and has never gotten to make her own choices in life.

Adrian Veidt (Matthew Goode) publicly revealed his identity, sharing that he is Ozymandias, an Egyptian-themed hero with a love for the kings of old and a wish to use his title of “Smartest man in the World” to save the world from itself.

The Comedian (Jeffrey Dean Morgan) was the moniker applied to Edward Blake, a man who epitomizes the word “soldier.” Between government work, his life as a vigilante, and his time spent at war, he developed a cruel twisted view of the world, and acted as a mirror, reflecting it’s horrors for all to see.

Doctor Manhattan (Billy Crudup) is the exception to the rule. Among the crime fighters, he is a marvel of science. Caught in the middle of an experiment gone astray, he is destroyed and then rebuilt, as a blue being of pure energy — a real life superhuman (who is American) — who can change matter with just a thought. But even he is not immune from the flawed nature of mankind, as he is slowly losing his grip on humanity and forgetting what it was once like to be a man named Jon Osterman.

The important point of each character is that none of them are perfect. They are not superheroes who live there nights as costumed vigilantes and their days as mild mannered civilians. They are both at the same time. They have to carry the things they have done or seen, whether they have a mask on or not. They are flawed, they are broken, and as a whole, they seem fairly unstable. Veidt appears to have a god complex; Rorschach is paranoid and sees the world as a vile pit nearing the point of no return; Dan is uncomfortable outside of his suit, and can barley function without it on his mind; Laurie is juggling failed relationships with her family and Doctor Manhattan; The Comedian seems to only feel anything through violence, and has taken a nihilistic view of the world; and the good Doctor Manhattan is losing any attachment to Earth. These are not the people I want saving the world, yet these are the people trying.

The portrayal of these characters is certainly the hardest part of putting together this movie, and that was its biggest strength. Haley took the role of Rorschach and made it his own. From his bursts of anger, to his monotone gravelly voice, the character was nailed. The surprise star of the film was Patrick Wilson, who was able to play both the roll of the geeky Dan, and the heroic Nite Owl, who while the same flesh, are fundamentally two different people. Without the mask, he is meek and quiet and unable to work up any courage. With the Mask on, he was your classic vision of a hero, righting wrongs and injustices. The dichotomy was brought to the forefront and Wilson handled it perfectly. In truth, all the characters were handled very well. Each actor brings their nuances to the roles and it helps in bringing these people off the page.

The biggest shock was the use of music in the movie. While most music sits in the back of a movie, setting a tone, Watchmen used it in front of the characters. The title montage, set to Bob Dylan’s “The Times They Are A-Changin” was one of the best uses of music in a movie I have ever seen. Gripping an audience, and pulling them right into the story without ever saying a word is a nearly impossible feat, and like everyone else in the theater, the movie sucks you in from the start.

During one scene, set in the Vietnam War, Doctor Manhattan arises over the horizon, to the classic “Ride of the Valkyries” evoking the similar scene in the classic “Apocalypse Now” and showing how the world changed because these people were around. Because of Manhattans’ interference, the war ended in less than a week, and the use of music dredges up the feelings of what was just avoided. The only folly was a horrible cover of “Desolation Row” played over the beginning of the end credits, but I can forgive it because it was clearly shoehorned by the bigwigs, and not by those making the movie.

While I certainly enjoyed the movie, it isn’t without its flaws. The main one being pacing. It is known that a lot more was shot, and was left on the cutting room floor to make it fit in the three hour range. It felt like it. A lot of little details and plot lines were left out, and will hopefully make their way back in the Director’s Cut, which is already rumored to be nearing the five hour mark. But it wasn’t just the missing information that was the problem with the cuts, but rather the flow of the story. The first three fourths of the movie were spot on. It felt right, even though it had some missing details, but the last quarter really felt rushed. Hopefully that when this hits DVD a lot of the pacing will be fixed with the extra footage. The movie and the story both echo the theme of “never compromise” and I feel that perhaps a little to much compromise has made its way to the theatrical cut.

“Watchmen” was both fun and stimulating and an astonishing success conceding the complexity of the literary source. The actions scenes were done right, and showed why these people survived so long. Each character felt different while fighting, which is something rare in action flicks. Rorschach moved in quick sudden bursts, striking wildly and brutally, while Nite Owl threw punches that could have taken down any boxer. Fanboys might get up in arms over some changes, but there was also a lot of stuff left in there just for them. The overall story felt a bit disjointed, but was enjoyable and understandable. Despite having to fit such a large story into three hours, the point does come across:

Simply, there are no heroes. There are only humans, and thus are as flawed as you and me. Between them, there are murderers, adulterers, racists, and sexists. They aren’t people who you should look up to, much less emulate. Yet, they are characters, who while all approaching it differently, all want a better world. So go to the theatre looking for people, not for heroes. Go looking for stories, not for heroics. Go looking with an open mind, and see that it’s more than a popcorn superhero flick, and it deserves more than being known as such.

When the film adaptation of the graphic novel sensation “Watchmen” was first announced, the main concern was whether director Zack Snyder could pull off a successful adaptation of Alan Moore’s iconic word.

Key among those concerns was whether the Minutemen — a group of superheroes founded in 1939 and pivotal to the story of “Watchmen” — would be included in the final product.

Blast got a chance to watch the first 18 minutes of “Watchmen” at New York Comic Con a few weeks ago and saw for ourselves that Snyder did manage to pull of a balance of attention to detail and concrete storytelling. The Minutemen were heavily featured in the opening minutes of the film; heroine Silhouette prominent among them.

We also had the chance to speak with actress Apollonia Vanova about the role of Silhouette and her experience on the set of “Watchmen.”

“There was a lot of attention to detail,” Vanova said of her time on the set. “I was overwhelmed. … Every little prop was perfect. I couldn’t believe how real everything was to different times and different eras. And it was just really excited to be a part of that project to see all the characters dressed in their costumes.”

Silhouette’s screen time is limited, but her presence is big part of the “Watchmen” universe. As one of the Minutemen, Silhouette is a major figure in the spotlight during the 1940s.

Her homosexuality — shown during the film’s opening montage with a brilliantly choreographed reenactment of the V-J Day kiss — leads to her murder.

“I have read on an Internet site that some lesbian women are offended about the V-J Day kiss in the movie, writing that it is a cheap shot and an attention-getter for the men. I don’t agree,” Vanova said. “In my opinion that sequence should be included in the movie. … For Silhouette, this was not only about the war ending, this victory represented her own personal victory as well — she was Jewish and a homosexual.”

The V-J Day kiss — a scene unique to the movie — was the part Vanova was asked to audition with.

Vanova said filming the kiss was “amazing” and her favorite part of the experience.

She said during every practice take, the set had been silent, but when it finally was time for the shot to be filmed, balloons and firecrackers went off to represent the celebration and then she performed the kiss.

In the graphic novel, Silhouette retired from the Minutemen after the fact she was a lesbian became public knowledge. Later on, she was murdered by one of her enemies.

SPOILER WARNING In the film’s opening montage, there is a scene where Silhouette and her lover are shown murdered on their bed with the words “Lesbian Whores” written on the wall behind them. END SPOILER

“When we think of superheroes or of heroes, you always think they are people with great moralities or people who are ideal humans. And I think in (“Watchmen”) I think that all the superheroes are flawed — and not in a bad way — but that they are all human. … Because Sillouette was a lesbian and she had to escape Austria, she had her own personal reasons to join the minutemen and these reasons may not always be for the good of others. These superheros enact justice based on their own interpretation and morals. This is what makes them human and flawed,” Vanova said.

A true thesbian, Vanova adjusts herself and her persona to her role — straight or gay.

“As an actor, I feel very comfortable with both,” she said, “When I do a scene with a man, the feminine apect dominates. When it as with a woman, I instinctually become more masculine. In opera, a lot of the roles for mezzo sopranos are ‘pant’ roles and I find the discovery of the masculine very interesting.”

Vanova has not seen the final cut of “Watchmen” and could not comment on whether homosexuality in superheroes was as present in the film as it was in the novel, but based on the footage shown at New York Comic Con, the character of Silhouette was kept the same.

In the novel, the stories of the Minutemen were reserved for brief essays and excerpts from novels taken from within the Watchmen universe that followed each chapter. The history of the Minutemen illuminates on the present circumstances of the superheroes.

Vanova said the film preserves the stories of the Minutemen during the opening montage using a combination of art references (Character Sally Jupiter’s retirement party is based on Leonardo da Vinci’s “The Last Supper”) and historic events (Another, The Comedian, is portrayed as being the one who shot Kennedy).

“I think they wanted to show why, for example, my character was ousted for the group,” Vanova said. “I think kiss is just a visual representation of what happened to Silhouette. The snapshot.”

There was an additional scene shot of Silhouette escorting gangsters and “dominating them” with people taking pictures that Vanova said is being held for the DVD.

Vanova said it was the attention to detail that impressed her on the set.

“Every little prop was perfect. I couldn’t believe how real everything was to different times and different eras,” she said. “From what I’ve seen and from when I’ve read the comic book, it was pretty close.”

Her costume, which she enthusiastically expressed her love for, was a glamorized version of the black number Silhouette wore in the comics. The look required that they cinch Vanova’s waist down to a trim 22 inches. “As long as I kept my diet, I was fine,” she said with a laugh.

Vanova, who Stargate fans will recognize from her role in one episode as the Wraith Queen, said she plans on focusing on acting and her opera singing now that “Watchmen” is completed. She is producing her own opera CD, which is slated for release in April.

She certainly has the look for fantastical sci-fi and alternate reality roles like “Watchmen” and “Stargate.” Does she look out for these roles?

“I just happen to fit the roles of unusual characters,” she laughed.

“Watchmen” opens Friday.

Terri Schwartz also reported from New York.

Here are some more “Watchmen” videos from Rubber Republic and Blast Magazine.

The Comedian and Ozymandias

Zack Snyder and Dave Gibbons

Dr. Manhattan and Silk Spectre

Night Owl II and Rorschach

Today we have three more Watchmen-related videos courtesy of Rubber Republic and Warner Bros. for your viewing pleasure:

“We can break into the Pyramid”

“Rescue”

“Attention Citizens”

Rubber Republic and Blast Magazine are here to give you your much-needed “Watchmen” fix as the clock ticks closer to the film’s release on March 6. Below are some exclusive videos having to do with the world of “Watchmen.” Keep an eye out for more as the release date looms closer.

TV Player

The Keene Act & YOU (1977)

10 Years of Manhattan

“Watchmen” Trailer (HD)

NEW YORK — With less than a month until the release of “Watchmen,” there was doubt as to what their panel would provide. What would they do to entice their audience? After the full cast panel at San Diego Comic-con in July where then never before seen footage was shown, it seemed like there was little Warner Bros. could provide that would whet our already starving appetite for more “Watchmen.”

So they gave us Dave Gibbons and showed us the first 18 minutes of the film.

The footage reaffirmed what I already anticipated — “Watchmen” is brilliant. Dave Gibbons, co-creator and illustrator of the “Watchmen” graphic novel, discussed with the audience how director Zack Snyder incorporated a combination of scenes both in and outside of the comic book to create a better visual picture for all audiences to appreciate. I was awed how, within the first 10 minutes of footage, “Watchmen” had managed to establish the idea of “the Doomsday clock is always five minutes to midnight” and the fact the film takes place in an alternate time where Nixon is still president.

Without giving too much away, Snyder uses the opening credits of the film to give the viewer a brief history of the world “Watchmen” inhabits. Not only did they incorporate historic instances, like Kennedy’s assassination and a woman placing a flower in the end of a soldier’s rifle – an icon Vietnam image – but they also showed scenes to introduce the concept of the Minutemen and their progression to the Watchmen.

There were cheers from the audience at the right moments, like when a young Rorschach appears on the screen and when “Who watches the Watchmen?” is sprayed on a storefront window. But the audience of the New York Comic-con panel is a dedicated group of “Watchmen” fans, and I’m curious to see how much of the film – or at least its first 18 minutes – someone who hasn’t poured over the comic would understand. Seeing a picture of Laurie in the Comedian’s apartment made me appreciate Snyder’s attention to detail, but I’m worried anyone who isn’t familiar with the “Watchmen” universe will have no idea what’s going on after the film’s fast-paced start.

Regardless, Snyder has created a fantastic visual interpretation of one of the greatest graphic novels of all time. His attention to detail and careful representation of the story’s characters emphasizes how much effort he put into making the film adaptation of “Watchmen” as respectful an interpretation as possible to the graphic novel.

The first 18 minutes looked beautiful. Let’s see on March 6 whether the rest of the film holds up to that standard.

Warner Bros. issued a press release today announcing the DVD and Blu Ray release of the much anticipated “Watchmen” companion — “Watchmen: Tales from the Black Freighter and Under the Hood” — will be released on March 24, 2009.

“Tales of the Black Freighter” will also include “Under the Hood,” an autobiography of “Watchmen” character Nite Owl featured heavily in the graphic novel.

Both titles are executive produced by “Watchmen” director Zack Snyder, Lawrence Gordon, Lloyd Levin, Deborah Snyder, Thomas Tull and Wesley Coller.

A comic-within-a-comic from the original “Watchmen” graphic novel, “Tales of the Black Freighter”tells the story of a sailor’s return home after being marooned. It is read in “Watchmen” the graphic novel by a young man in New York City while the city around him is being destroyed. The events in “Black Freighter” seem to mirror those in the world of “Watchmen.”

A “Director’s Cut” version of “Watchmen” is planned to be released incorporating “Tales of the Black Freighter” into the film as director Zack Snyder had originally intended. Due to the length it added to the film, Snyder was forced not to include “Black Freighter” in “Watchmen”s theatrical release.

“Under the Hood” is the autobiography of the original Nite Howl, Hollis Mason. It discusses how Mason’s life led him to become a masked avenger and how the Minutemen, the first superheroes to emerge in the “Watchmen” universe, were formed. It is directed by Eric Matthies, written by Hans Rodionoff and produced by Eric Matthies and Wesley Coller. Stars Carla Gugino, Matt Frewer, Stephen McHattie and Jeffrey Dean Morgan appear as their characters from the theatrical “Watchmen” film in this live-action documentary style special.

“Watchmen: Tales from the Black Freighter and Under the Hood” will be available on standard definition disc for $27.95 and Blu-ray disc for $35.99.

Everyone is watching the Watchmen–or rather, everyone is watching the dueling studios 20th Century Fox and Warner Brothers as the fate of the highly-anticipated film is gradually shrouded in uncertainty and confusion. With Rorschach, the Comedian, Silk Specter, Nite Owl, and the rest of Alan Moore and David Gibbons’ brilliant cast so tantalizingly close to the silver screen, fans and film-lovers alike are anxious over the conflict. Will there be “Watchmen” on the night of March 6th, the day of the film’s scheduled release? Or will the conflict remain unresolved, as many fear, and result in postponement or even cancellation?

But let’s back up. Where does this all begin? The story is familiar by now: Fox bought the rights to distribute a film adaptation of Watchmen shortly after the acclaimed graphic novel’s release and spent the next twenty years doing absolutely nothing with it. Warner Brothers decided to develop the so-called “unfilmable” story anyway and managed to produce the $130 million epic with “300″ director Zack Snyder at the helm.

Of course, it’s not that simple – it never is. Before filming began, Fox approached Warner Brothers and a suit began over the rights to the project, though it is obvious Warner Brothers continued with production regardless of legal troubles. Unfortunately for Warner Brothers, in late December Judge Gary Feess brought down the gavel on Fox’s side of things and since then, Fox has made it clear that they want to prevent the release of the film, a possibility which will be decided on January 20th. The only good news for fans in this bleak tale is that lawyers on both sides of the conflict are working on a settlement.

The legal conflict hasn’t stopped Warner Brothers from mounting a variety of marketing strategies. Snyder and company took full advantage of the comic-book hype of “The Dark Knight,” releasing the first trailer just before Batman hit theaters.

A series of prequel video games called “Watchmen: The End is Nigh” will be released during the month of March to (hopefully) go along with the film. Patrick Wilson (Nite Owl) and Jackie Earle Haley (Rorschach) lend their voices and‚ original artist David Gibbons served as an advisor during production of the seventies period game.

“The Tales of the Black Freighter,” the fictional comic book in the original graphic novel, will be included as an animated feature for Watchmen’s (hopeful) DVD release, with Gerard Butler voicing the main role.

Director Zack Snyder didn’t forget the fans, either. He took to Watchmen’s Youtube channel and started a contest for Youtubers to create commercials for Veidt Enterprises, a fictional corporation in the Watchmen world. Some of the top entries can be found‚ here.

Action figures are due to be released this month and this past Wednesday, a footage-packed‚ featurette was released via Apple that depicts the original generation of superheroes of the Watchmen universe, the Minutemen, whose story plays an important role in the story. The featurette was accompanied by a‚ Japanese trailer for the film that also plays host to some never-before-seen footage.

Recently, Warner Brothers launched a new‚ website that plays homage to vigilante Rorschach’s publication of choice, the fictional conspiracy theory magazine The New Frontiersman. While there are no apparent easter eggs, the website includes a few nods to Watchmen fans, incorporating the original Minuteman photo, an ink blot (also known as a Rorschach test), and the ubiquitous blood-stained smiley face pin into the site’s design.

So whether or not there will actually be a film to see on March 6th is still up in the air. But Warner Brothers isn’t about to back down and fans can only hope that their legal team is as aggressive as the marketing campaign–or, even better, as aggressive as the Watchmen themselves.

Yahoo has posted the newest trailer for Zack Snyder’s “Watchmen,” set to release March 6, 2009.

Step aside, Batman.

This newest “Watchmen” trailer was aired during the Spike TV Scream Awards.

“Watchmen” is property of Warner Bros. (pending their dispute with Fox) is directed by Zack Snyder. The graphic novel was written by Alan Moore and illustrated by Dave Gibbons.

This trailer has different footage than the first trailer, released in July, and includes some of the clips we were privileged enough to see at Comic-con.

SAN DIEGO — Many have called the comic book series “Watchmen” unfilmable. With the exclusive footage Comic-con attendees were shown at Friday’s event, director Zack Snyder (“300″) is proving otherwise.

Snyder said that when Warner Bros.  approached him about making a “Watchmen” movie as he wrapped production on “300,” he was initially hesitant, but he realized that if he refused the movie, it would pass on to another director who might not create a good translation of the novel.

“If the movie for whatever reason didn’t turn out, it still would have been my fault,” Snyder said of his decision to make the film, which will be released March 6, 2009.

Previous tries by directors such as Terry Gilliam, Darren Aronofsky and Paul Greengrass came up empty as they tried to recreate the world of “Watchmen” in modern times using current political tensions, but Snyder tried to stay as true to the original as a two-and-a-half-hour movie can to a 416 page graphic novel.

“Making a movie about the war on terror and [modern politics] seemed really wrong in a lot of ways to me,” said Snyder. “It’s cooler if people go, ‘Oh hey, this makes me think,’ instead of me telling people what to think.”

“Watchmen” is the only graphic novel to be listed on Time Magazine’s 2005 list of “the 100 best English-language novels from 1923 to the present.” It tells the intertwined stories of a group of unwanted superheroes; Rorschach, The Comedian, Dr. Manhattan, Ozymandias, Silk Spectre I and II, and Night Owl II, from their numerous perspectives throughout various time periods. “Watchmen” dates itself as it is set in an alternative future where the United States won the Vietnam War (thanks to Dr. Manhattan), and Nixon is serving his fifth term as president.

Snyder acknowledged that while the movie will remain similar to the comic series in many ways, some aspects of the “Watchmen” world will have to be changed for the sake of length.

“You’re going to end up with some stuff that’s not in [the original story], but that’s just how it is,” Snyder said.

More important than the segments that might have been cut are the subtle parts of “Watchmen” that Snyder left in. While cavalier directors may have considered getting rid of character development for the sake of large action scenes, Snyder said that he left out a lot of the big blockbuster action attractions in order to have more of the story elements.

The four minute montage of clips that Snyder presented exclusively to the audience showed evidence of his attention to detail. The scene in which Rorschach discovers that the murdered Edward Blake was in fact the Comedian includes a brief shot of a photograph of Laurie Juspeczyk, a connection to later events in the Watchmen storyline. A light bulb flashes and Sally Jupiter rubs her eyes as she stands in her Silk Spectre outfit in a scene that matches frame for frame with the graphic novel. A Vietnamese woman slashes the Comedian’s face with a broken bottle in a scene that reveals just how cruel the Comedian had been in his life. All of these clips are of events small enough that they could have been cut, but significant enough to diehard fans like Snyder that they weren’t.

Even a shot of Dollar Bill lying dead after he got his cape caught in a revolving door surrounded by police was in the series of clips, and that was a scene that had only been mentioned in the supplemental material included in the novel compilation of the series.

Snyder said that he was especially proud of how his actors absorbed the mythology of “Watchmen” and how well they kept their characters consistent with the book.

The actor who had the most difficult time slipping into character was Billy Crudup (“The Good Shepherd”), who is playing the omniscient, blue, and completely computer generated Jon Osterman (superhero alias Dr. Manhattan). Instead of a costume, Crudup had to wear a skin-tight suit with motion sensors covering it so that a computer could capture his movements and make them Dr. Manhattan’s. He said that it took weeks before costar Malin Akerman (“27 Dresses”), who plays Manhattan’s love interest Laurie Juspeczyk (superhero alias Silk Spectre II) to look at him without bursting out laughing.

“I wasn’t the only one,” Akerman said in her defense.

“Dr. Manhattan is like nothing I have a frame of reference for,” said Crudup. “How do you play [Dr. Manhattan] while you’re a five-foot-nine, 40 year old jackass playing dress up?”

“Changing my molecules … that’s stuff they don’t teach you in drama school,” he said.

Jackie Earle Haley (“Semi-Pro”), playing Walter Kovacs (superhero alias Rorschach), said that he learned the most about his character not from the comic book but from the blogs where fans discussed Rorschach’s intricate and nihilistic character.

Big news comic book fans; a Watchmen trailer has finally been released!