Graphically Novel

"Oh yeah? You should have seen me in 'Sin City'"

Zack Snyder's film interpretation of the groundbreaking Watchmen comic series created by Alan Moore and David Gibbons, published in the mid-eighties and later compiled as a single volume graphic novel is exactly what you would expect. It is a technical marvel, stuffed full of eye-popping visuals, meticulous detail and near slavish devotion to the source material, but where Robert Rodriguez's pulpy Sin City and Snyder's own 300 excelled at bringing the 4-color page to the screen, Watchmen feels flat. While the movie begins promisingly enough with a superbly choreographed fight scene and a clever opening credits sequence set to Bob Dylan's "The Times They Are A'Changin'" that provides ample exposition for the viewer unfamiliar with the comic book world's answer to James Joyce's "Ulysses," the remaining two and a half hours plod joylessly toward a cataclysmic finale that packs the emotional wallop equivalent to a city council meeting debate about water rationing.

At least the actors generally appear to be having fun with their roles even if we aren't. Jackie Earle Haley tackles the enigmatic Rorschach with gusto and infuses the movie with what little heart it has, while Billy Crudup is saddled with the tall order of playing an emotionless and often pantsless Dr. Manhattan. What any living actor could have done with the role is beyond me, but a more commanding voice would have helped. Finally, Patrick Wilson's Night Owl may be one of the worst casting decisions ever. I like the guy, but it's a sad day when they get a handsome actor like Wilson to play an over-the-hill impotent doughboy like Dan Dreiberg. Can't overweight guys ever catch a break in Hollywood?

While it's difficult to acquit Snyder completely for the film's lack of thematic depth, Watchmen the comic book series is a tough nut to crack. Alan Moore and Dave Gibbons' work was a dense and multi-layered commentary on society and how it would really be if costumed crime fighters walked among us. It's a conceit that's been revisited in film since Moore's comic treatment, most notably and with a lighter hand in Pixar's The Incredibles, which actually has more evocative things to say than Snyder's film-by-numbers.

The eccentric Moore has long since written off Hollywood even though Hollywood continues to plumb his work for screen fodder with varying results (see From Hell, The League of Extraordinary Gentlemen, and V for Vendetta), and I had always written off Moore's opinion that his work was too "special" to be made into a summer popcorn movie by an able director. This time, he has a case. While Snyder was up to the challenge and even got Moore's partner in crime Gibbons to publicly bless the production, Watchmen was not written to be a feast for the eyes as much as it was to be a treatise on society at large and a glimpse at an alternate reality before CG effects were rendering alternate realities with such frequency in film.

Watchmen in comic form is a hodge podge of ideas and storytelling techniques. There are prose interludes and narrative tangents that make the books special and that popular film, for all its potential greatness, usually rejects. Popular film is a passive medium. Books are active, even when they are filled with colorful pictures. While "Watchmen" the mini-series could accommodate the ideas that populate "Watchmen" the comic book, "Watchmen" the movie has been so stripped of subtext that we are left with a series of bummers leading up to one giant bummer. Snyder's film is like reading the Star Wars comic book that George Lucas authorized and Marvel published to cash in on the cultural frenzy of 1977. It too was a pale substitute for the medium for which the story was designed.

Certainly books (even difficult books) can be turned into successful movies (cue Lord of the Rings music), but Watchmen the movie proves that for all of the clamoring from the halls of geekdom for the film adaptation of this, the beloved crown jewel of the comic book canon, some things should be appreciated just the way they are.

Tell Everyone

"For the last time, I will not pull your finger!"

Tell No One is the kind of movie that Hollywood doesn't make these days (and maybe never did), but you can bet your ass that Tinseltown execs would line up to greenlight an overblown remake of this engrossing French thriller and cast Russell Crowe and some starlet du jour in the lead roles if there was enough money in it. I can even picture cross promotions with cell phone providers or foreign car manufacturers.

In the adaptation of a novel written by Harlan Coben, François Cluzet, a dead ringer for Dustin Hoffman's taller, more athletic, and younger brother, plays a man who is sucked into a labyrinthine mystery eight years after losing his wife in a sudden act of violence. To reveal any more of the plot would do a disservice to this intricate, multi-faceted jewel of a movie that is best enjoyed with little to no background. It's a movie that hits the ground running after a pastoral opening (much like Cluzet's Alex), and doesn't skimp on detail as it feeds us visceral thrills coupled with David Mamet-like plot twists and complex emotional themes.

Alex's wife Margot, played by Marie-Josée Croze, is luminous in her relatively limited screen time, and Kristin Scott Thomas plays the friend who gives Alex the tough love that only someone outside of the family can. The rest of the supporting cast give their characters a lived-in quality that's almost documentary-like in its execution.

Director Guillaume Canet's Tell No One is a true joy even though its core premise is unflinchingly sad. The cathartic closing scene is the perfect end to this nearly flawless movie, but the lingering sadness I felt while leaving the theater was mingled with the regret that the American movie machine does not see the value in making movies like this. Even if they tried, the non-stop bombast associated with our country's thrillers would drown out the more delicate scenes that give Tell No One its true weight. It's a "man on a mission" movie that doesn't end in a double or triple digit body count. The deaths in this film actually mean something to the characters on screen... and to us.

Tell No One is now available on DVD and Blu-Ray. What are you waiting for?