The Ultimate Cut / Includes Watchmen: The Complete Motion Comic / Blu-ray + Digital CopyWarner Bros. | 2009 | 2 Movies | 215 min | Rated R | Nov 10, 2009
Watchmen Blu-ray delivers stunning video and reference-quality audio in this exceptional Blu-ray release
In an alternate reality, it's 1985, costumed superheroes are part of the fabric of everyday
society, and the "Doomsday Clock" - which charts the USA's tension with the Soviet Union - is
permanently set at five minutes to midnight. When one of his former colleagues is murdered,
the washed-up but no less determined masked vigilante Rorschach sets out to uncover a plot to
kill and discredit all past and present superheroes. As he reconnects with his former crime-
fighting legion - a ragtag group of retired superheroes, only one of whom has true powers -
Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and
catastrophic consequences for the future. Their mission is to watch over humanity...but who is
watching The Watchmen?
With Watchmen: The Ultimate Cut, director Zack Snyder -- whether by his hand or Warner's -- joins a shrewd and saavy brotherhood of filmmakers notorious for milking their fanbases. George Lucas has kept his far-far-away faithful eating out of his palm for decades; ever upgrading, ever adding the same movies to their collections again and again. Peter Jackson pulled off nothing less than a home video coup de grâce, successfully offloading theatrical editions of his Lord of the Rings trilogy, releasing extended cuts of each film months later, and roping in diehards even further with a variety of collectible box sets. Did I mention Blu-ray editions are on their way next year? Watchmen: The Ultimate Cut takes the process to ludicrous new levels, essentially offering fans a director's cut of Snyder's own Director's Cut. But is there a place for an Ultimate Cut box set on a Blu-ray shelf already ballooning with a Director's Cut, a Complete Motion Comic, and a standalone Tales of the Black Freighter release? Bruised wallets notwithstanding, the answer is "yes."
Scheduled for release next year? 'Watchmen: Seriously Guys, This Is the Last Cut, I Swear.'
For those not in the know, Snyder's 215-minute Ultimate Cut goes a step further than his 186-minute Director's Cut, weaving his animated rendition of Alan Moore's comic-within-a-comic, "Tales of the Black Freighter," into his feature film. Based on a pirate-themed comicbook a young man reads in Moore and Gibbons' skewed superhero epic, the animated short follows the homeward journey of a shipwrecked mariner (voiced by Gerard Butler) who goes to unspeakable lengths to save his family from an otherworldly ship of demonic swordsmen. While seemingly unrelated to the central Watchmen storyline, the Tales of the Black Freighter scenes actually chart the moral wavering and eventual fall of the film's central villain. It's a subtle parallel to be sure -- one Moore relies on in his original miniseries to accentuate several key themes -- but it also explores the mind of a man on the brink of madness. To that end, Butler and The Curious Case of Benjamin Button's Jared Harris are perfectly cast in their respective roles, infusing genuine pathos and tragedy into what could have been a throwaway short. The animation itself is a bit choppy and simplistic, but still manages to capture the tone of Moore's swashbuckling comic-within-a-comic and the original miniseries proper.
But how well does it all function within the film itself? Honestly, it depends on what you want from a comicbook adaptation. Panel jockeys will adore the additions, particularly the live-action newsstand scenes that bookend the animated segments, and appreciate Snyder's commitment to Moore and Gibbons' sprawling graphic novel. It certainly isn't the giant squid "Watchmen" disciples have longed for, but it is yet another faithful, well-conceived connection to the comic that will garner plenty of deserving praise. However, anyone who isn't familiar with the graphic novel will find the additional scenes to be interesting but unnecessary; a jarring bonus that alters the film's pacing and distracts from the main characters and storylines. Personally, I enjoyed seeing how Snyder fused the two together, but didn't feel it improved or undermined his Director's Cut. As a short film, Tales of the Black Freighter is a strong, supplemental story; one best served on its own. As a series of additional scenes, it's a nuanced and inherently indirect dissection of a main character who, by the very nature of his secret plight, isn't given much screentime.
All that is to say this: Watchmen remains largely unaffected by The Ultimate Cut changes. Set in an alternate '80s America (where Richard Nixon is serving his fourth consecutive term as president after using superpowered "heroes" to swiftly win the Vietnam War), Watchmen opens with the death of Edward Blake (Jeffrey Dean Morgan), a washed-up nobody who means little to the policemen scraping his corpse off the sidewalk. However, to a borderline-psychotic vigilante named Rorschach (Jackie Earle Haley), Blake was actually the Comedian, a depraved superhero of sorts who made more than a fair share of enemies over the years. Convinced that Blake's killer is plotting the murder of other former heroes, Rorschach sets out to warn his once triumphant, now scorned and dejected colleagues -- Dan Dreiberg, aka the Nite Owl (Patrick Wilson), a stodgy coward who would rather stay out of sight; Laurie Jupiter, aka the Silk Spectre (Malin Akerman), a perpetually victimized failure who wraps her identity in whatever man she falls for; Adrian Veidt, aka Ozymandias (Matthew Goode), a wealthy, calculating entrepreneur whose greatest asset is his arrogance; and Doctor Manhattan (Billy Crudup), a scientist whose ability to manipulate matter has transformed him into an inhuman demigod. As Rorschach and the ex-heroes begin to uncover the roots of a terrifying conspiracy, the crime fighters encounter far more than they bargained for: a villain willing to sacrifice an entire city to see his twisted agenda come to fruition.
As the story unfolds, Snyder follows in Moore and Gibbons' footsteps and fleshes out the world of Watchmen with meticulous attention to detail. With a wonderfully bleak and wordless montage (set to Bob Dylan's "The Times They Are A-Changing"), he gives viewers a succinct overview of the rise and fall of golden age heroes, the emergence of their cynical and nihilistic replacements, and the world's ultimate reaction to the new regime of superpowers. From there, the young director weaves flashbacks, revelations, and numerous subplots into the central narrative to create a nonlinear experience many comic-to-film adaptations avoid altogether. We learn about the Minutemen (a team of freedom fighters who preceded the Watchmen), their tarnished legacy, the heated rivalries that were abandoned when masked heroics were outlawed, and the in-fighting that occurred behind closed doors. But most of all, Snyder provides glimpses into the soul of each man and woman who crosses the screen; into the very nature of those placed into positions of power and left to their own devices. We're faced with their faltering humanity, their at-times callous disregard for human life, and their raging inner-conflicts.
Long before Watchmen has reached its provocative endgame, Snyder has submerged his audience into the darkest depths of the human heart. Murder, rape, revenge, insolence, pride... regardless of the subject matter at hand, his camera is unflinching, and his fittingly morose atmosphere remains unparalleled. Like Moore and Gibbons, Snyder isn't interested in the flashy superheroics of the genre, nor is he distracted by the bubblegum idealism proliferated by the industry's earliest icons. His eye is pulled toward the bloody edges of sanity; the vicious tit-for-tat genuine vigilantes would bring to the table; the unsettling ease with which normal men and women would abandon their moral fortitude if they had no fear of consequence. He revels in the psychological tatters of his characters' minds, and the duality of their purpose and motivations. He pulls the best out of his cast -- Crudup brings Manhattan to life, Haley is an absolute revelation, and Morgan portrays the Comedian as a fittingly tragic nightmare -- and manages to deliver a grim ensemble piece that leaves no ugly stone unturned.
I know a lot of purists were underwhelmed or disappointed by the results and inevitable omissions (some of which have been reinserted in The Ultimate Cut), but I didn't have the same hangups. Moore apologists were appalled by a significant change to the third act (involving space-faring calamari of all things). Me? I thought his changes streamlined the story, strengthened Manhattan's purpose, and eliminated the need for unnecessary exposition Snyder wouldn't have had time to incorporate into the film anyway. Comic shop veterans were annoyed by the number of supporting characters that were neglected by the time-constrained director. I'll wager the additional Director's Cut and Ultimate Cut scenes will put many of those concerns to rest. Viewers who hadn't cracked Moore's graphic novel were unprepared for the film's meandering pace, dense backstory, and character-centric action. I believe it perfectly represents the tone and atmosphere of everything Moore and Gibbons committed to the printed page. Critics were bothered by the level of faithfulness he brought to the project, confusing his love of the material for a cinematic weakness. I say Snyder's hand is perfectly visible in the piece, as is his flare for the visually dramatic, and I wouldn't have it any other way.
Is that to suggest Watchmen is perfect? No, I'll readily admit to some concerns of my own. Akerman is a bit bland (a shortcoming somewhat remedied by the appearance of several key scenes in the extended cuts of the film); the amped-up superheroics of Nite Owl, Silk Spectre, Ozymandias, and others seems to go against Moore's everyday-vigilante intentions; and I missed a few emotional gut punches that always resonate with me when I read the original limited series (Jon and Laurie standing amidst thousands of mangled corpses, for one). At the same time, I can't imagine a more remarkable adaptation, and I'm in awe of Snyder's ability to juggle so much and drop so little. I know Watchmen will continue to divide audiences as much as its predecessor will continue to divide modern readers but, once given the opportunity to absorb the film multiple times (and via multiple cuts), I'm convinced Snyder's adaptation will continue to grow on both its fiercest fans and harshest detractors. Personally, I'm enamored with its every sequence, shot, and frame.
I know more than a few people who were blown away by The Dark Knight's arrival on Blu-ray, but I was one of those sad saps who couldn't get past its alternating aspect ratios, its overheated contrast, and the rampant edge enhancement on display. As such, I approached Watchmen with a bit of hesitation, worried Warner's 1080p/VC-1 transfer would suffer a similar fate. I'm pleased to report that isn't the case. Not only does Watchmen retain all the brooding grittiness Snyder intended, it boasts a filmic presentation complete with unobtrusive grain, clean object definition, revealing textures, and striking skintones. That's not to say the film's absorbing gloom and bottomless blacks have been tempered -- just as Gibbons used heavy inks in 1986, Snyder uses similarly stark shadows in 2009 to bathe his rendition of Moore's city in darkness -- but, in my humble estimation, the somber elements of the picture never appear overcooked or artificial. Witness the pores dotting Rorschach's unmasked face, the flecks of blood splashed across the Comedian's stubbly chin, the remnants of a devastated metropolis, the bits of rubble raining down from Jon's emerging fortress, the controls in Dan's ship, the... I could go on and on, but I'll save you three paragraphs.
And what of The Ultimate Cut's newly inserted animated sequences? For all intents and purposes, they're identical to those on the standalone release of Tales of the Black Freighter. Boasting vibrant colors, absorbing blacks, and striking clarity, these additional scenes look fantastic alongside the live-action bookends that accompany them. Granted, faint pixelation disrupts some of the sequences' finer lineart, but never becomes a distraction. Likewise, banding appears from time to time, but rarely undermines the quality of the presentation. In fact, the animated bits are as crisp and clean as anyone could hope for. Significant artifacting and noise aren't a problem, and color fills are consistent and stable. My only complaint lies with the live-action scenes. While digital clutter, aliasing, and unintended noise are nowhere to be found, the blue glow of Doctor Manhattan's skin is the source of some faint anomalies. It should also be noted that slight (albeit negligible) ringing appears on occasion. Regardless, the encoders at Warner have outdone themselves, producing yet another high definition Watchmen transfer worthy of legitimate praise. I'm sure some viewers will inevitably gripe about Snyder's aesthetic choices but, as far as technical presentations go, this one is stunning.
Have no fear, dear readers. While The Ultimate Cut replaces the DTS-HD Master Audio mix featured on The Director's Cut release with a Dolby TrueHD 5.1 surround track, the results are exactly the same. It delivers an equally impressive sonic payload; a marvelous, memorable monster that captures all the power and fury of Snyder's ode to dark superheroics. Dialogue is crisp, clean, and impeccably prioritized in the mix, imbuing Dan and Laurie's hushed conversations with the same care afforded to their less-than-subtle prison break. LFE output is refined as well, adding heft and presence to every potent punch, gut-churning teleportation, and deafening explosion. Rear speaker aggression rounds out the lossless trifecta with enough ambient effects, musical score support, and atmospheric acoustics to satisfy the needs of a dozen separate audio tracks. Not only are pans as smooth as they come, directionality (while intentionally skewed at times) is precise and the resultant soundfield is eerily enveloping. Even key cues from the soundtrack resonate: Leonard Cohen's baritone lulls in "Hallelujah" are deep and satisfying, Bob Dylan's nasally whine is sharp and stable in "The Times They are A-Changing," and Simon and Garfunkel's "Sound of Silence" has never sounded better.
Despite its comicbook roots, Watchmen is as much an aural experience as it is a visual one. To that end, Warner's faithful Dolby TrueHD track fulfills Snyder's every demand and the film's every need. Fans will be bouncing in their seats at the sheer sonic majesty of this one.
The 4-disc Blu-ray edition of Watchmen: The Ultimate Cut comes bundled in a sturdy black box sealed with an unseen magnetic clasp (similar in size, heft, and design to Universal's Bourne Trilogy set). Inside, a matching digipak houses three discs in individual plastic trays: one devoted to the feature film, one that collects the set's other special features, and one that provides fans with a Digital Copy of Snyder's theatrical cut. A fourth disc is included as well -- Watchmen: The Complete Motion Comic -- but is packaged in a smaller, standard Blu-ray case. While it fits snuggly alongside the bulkier digipak, it looks out of place. Why the folks at Warner Brothers didn't just craft a 4-disc digipak is a mystery, but it's the lone oddity in an otherwise attractive set.
That being said, the biggest downside to this release has nothing to do with the packaging at all. The Director's Cut featured a fantastic Picture-in-Picture video commentary (dubbed Maximum Movie Mode); a boundless, innovative bonus that made the initial release stand out from the high definition crowd. Alas, The Ultimate Cut doesn't include a Maximum Movie Mode. To be clear, I'm pleased the studio gave Gibbons and Snyder their own audio commentaries (even though pairing the two in the same recording session would have been much better), but true filmfans will need to own both releases to get the most out of their Watchmen experience. Still, it's hard to complain too much when a 4-disc set offers as much supplemental content and value as this one. Minor complaints aside, The Ultimate Cut is well worth its price tag.
Disc 1: The Ultimate Cut of the Film
Zack Snyder Audio Commentary: While notably inferior to the Maximum Movie Mode included on the Blu-ray edition of The Director's Cut, Snyder's commentary is a welcome addition to this release. Thorough, candid, and critical of his own decisions, Snyder takes filmfans of a whirlwind tour of the production, dissecting key sequences, pointing out countless on-screen easter eggs, and discussing his experience with his cast and crew. Moreover, he discusses the Tales of the Black Freighter scenes, the manner in which he inserted them into his Ultimate Cut, and the various reasons the animated bits were left on the cutting room floor for so long. Unfortunately, he tends to "uh" and "um" his way through the entire track, sometimes describing what his audience is watching rather than explaining the efforts that went into producing more complex shots. Don't get me wrong, I was relieved that he didn't deliver any lengthy technical lectures, but he occasionally alludes to production challenges without ever really explaining what they actually were. Still, I enjoyed listening to Snyder address every scene and shot his film has to offer, and found him to be a suitably informative, personable, and engaging speaker from beginning to end.
Dave Gibbons Audio Commentary: Quieter, spottier, and far more restrained, Gibbons' commentary isn't as rewarding as Snyder's, but nevertheless gives the ever-humble "Watchmen" artist plenty of time to discuss his impressions of Snyder's adaptation, his take on various scenes and controversial changes, and his appreciation of the director's respect for his source. While I would have liked to hear Gibbons' talk more about his work on the original comic and his dealings with writer Alan Moore -- it doesn't help that he spends the majority of his commentary pointing out shots he "loves" and sequences he thinks "are magic" -- I still found myself sticking with the track in spite of his frequent silences, narration of on-screen events, and extended pauses. However, those who aren't obsessed with the graphic novel will probably be disappointed.
BD-Live Functionality
Disc 2: Special Features
The Phenomenon: The Comic That Changed Comics (HD, 29 minutes): This exceedingly thorough, unexpectedly revealing retrospective delves into the creation of Alan Moore and David Gibbons' acclaimed graphic novel. Even though the notoriously reclusive Moore is missing from the mix, the film's cast and crew, a handful of DC Comics executives, Gibbons, and other notable figures dissect the groundbreaking comic, discuss its influence, and its timeless relevance. I would normally cringe at the endless adoration on display, but considering they're talking about a revered work like "Watchmen," the praise rarely seems overenthusiastic or unwarranted.
Real Superheroes: Real Vigilantes (HD, 26 minutes): An in-depth and refreshingly serious examination of vigilantism throughout American history, particularly the '70s and '80s, and even the 21st century. It digs into New York's Guardian Angels organization, the actions and trial of Bernard Goetz, the realities of the Old West, volunteer border patrolmen, overzealous police officers, and an amusing pair of "real" superhero vigilantes (one sporting a low-rent T-shirt, the other a black helmet) in need of immediate counseling. Along the way, the documentary continually turns its attention to Rorschach and the characters of Watchmen, Moore's use of vigilantism as a fundamental launchpad in his original graphic novel, and society's temptation to romanticize and justify such behavior.
Mechanics: Technologies of a Fantastic World (HD, 17 minutes): This secondary featurette is definitely lighter in tone, but remains as informative and candid as the material preceding it. It follows the film's director, production designers, and department heads as they attempt to make the science and technology that appears in the film as plausible as possible.
Under the Hood (HD, 38 minutes): A faux-documentary of sorts made specifically for fans of the comic and film, Under the Hood is presented as an episode of an '80s Dateline-esque television news show called The Culpeper Minute. W several commercial breaks in tow, the special focuses on a diner chat between a journalist and the original Nite Owl (Stephen McHattie). Their conversation is peppered with Silk Spectre (Carla Gugino) interview segments, accusations from ex-villain Moloch the Mystic (Matt Frewer), and a few brief and volatile appearances by the Comedian (Jeffrey Dean Morgan). Delivering dense backstories for many of the first-generation heroes that appear in the film, this companion piece details the heroes' initial role in global politics, the government-sanctioned inquiries into their identities and motivations, and the eventual wane of the superhero lifestyle. Moreover, the characters comment on the emergence of Dr. Manhattan (Billy Crudup) and allude to many of the events prominently featured in Snyder's feature film adaptation.
Story Within a Story (HD, 25 minutes): A fairly extensive, sometimes exhaustive overview of why Moore devoted so much time to the Tales of the Black Freighter story and other seemingly unnecessary material, the depth such dense additions lent his epic, and the manner in which he weaved their threads into his narrative.
Watchmen: Video Journals (HD, 36 minutes): Eleven brief behind-the-scenes featurettes are available as well, all of which have been culled from the Director's Cut edition of Watchmen released earlier this year. The self-explanatory shorts include "The Minutemen," "Sets and Sensibility," "Dressed for Success," "The Ship Has Eyes," "Dave Gibbons," "Burn Baby Burn," "Shoot to Thrill," "Blue Monday," "Attention to Detail," "Girls Kick Ass," and "Rorschach's Mask."
Music Video (HD, 3 minutes): My Chemical Romance's "Desolation Row."
Disc 3: The Complete Motion Comic
Watchmen Motion Comic: When writer Alan Moore and Dave Gibbons' critically acclaimed graphic novel finally gained traction in Hollywood, fans began to revisit the original miniseries, demanding new ways to experience the now-classic comic. Warner Brothers responded in 2008 by releasing a collection of Watchmen: Motion Comics, stirring productions that enhanced Moore and Gibbons' pages with animation, narration, sound effects, and music. More than a simple cut-and-paste presentation, the motion comics feature intensive overhauls of every panel, intricately mapped character movements, shifting perspectives, and crafty CG renderings, all produced under the watchful eye of Gibbons himself. The results are nothing short of amazing -- each panel springs to life, virtual cameras descend flights of stairs, word bubbles drift alongside their sources, and ink blots swirl on Rorschach's mask. The Blu-ray edition of The Complete Motion Comic collects all twelve chapters of the animated production in a tidy package that fans and newcomers alike will find to be easily accessible and thoroughly engrossing.
My lone complaint is that all of the voicework falls to a single narrator, Tom Stechschulte. While he does an outstanding job throughout his reading, deftly handling many of the characters' personalities, accents, and passions, his feminine voices are quite cheesy. Audio book regulars will shrug such a nitpick off as an inherent (and relatively minor) problem, but I really wish the producers had hired a separate actress to voice Silk Spectre and other women that appear in the series. Still, Stechschulte is a fine addition to the production who generally elevates the motion comics as readily as the music, effects, and animation. As far as I'm concerned, there isn't a Watchmen fan on the planet -- casual or diehard -- who shouldn't have this disc sitting on their shelf.
Warner's 1080p/VC-1 transfer lovingly reproduces Gibbons lineart, color fills are bold and stable, edges are impeccable, and inky blacks add tremendous depth to the panels. Detail is incredibly revealing as well. The various sequences may not feature many textures, but every background element, bit of text, and word bubble is sharp and refined. A handful of scenes look a tad distorted when the camera pushes in on Gibbons' artwork, but Warner's technical transfer remains sound. Despite its five-hour runtime, the presentation never falls prey to any distracting artifacts, unintentional bursts of source noise, or debilitating banding. Granted, minor edge enhancement has been applied throughout the production, but it rarely draws attention to itself.
The Motion Comics' high definition presentation is also bolstered by a proficient Dolby TrueHD 5.1 surround track. Tom Stechschulte's voice is evenly distributed across the front soundstage, the production's sound effects are well represented in the mix, and the LFE channel adds weight to the motion comic's omnipresent score and rousing action sequences. Still, aside from some light acoustic support and fleeting ambience, the rear speakers are subdued. Likewise, pans and directionality are often a moot point as the entire experience is more akin to an audio book than a feature film. Regardless, anyone with appropriate expectations will find it to be an impressive lossless track.
Watchmen Video Journal: Dave Gibbons (HD, 3 minutes): An all-too-short promotional featurette that examines the parallels between Snyder's film and the original graphic novel.
Wonder Woman Sneak Peek (SD, 10 minutes): An extended preview of Bruce Timm's Wonder Woman.
Disc 4: Bonus Digital Copy
Digital Copy: Rounding out the package is a Digital Copy of the film's theatrical cut. As is the case with most digital copies, the movie is presented in standard definition, no special features are included, and the disc carries an expiration date (for Watchmen, it's November of 2010).
The 4-disc Blu-ray edition of Zack Snyder's Watchmen: The Ultimate Cut is a fantastic release that only suffers from a few relatively minor issues. Specifically, the lack of a Maximum Movie Mode and the duplication of content fans already paid for when they purchased The Director's Cut, The Complete Motion Comic, and the Tales from the Black Freighter standalone release. However, those who've saved their money for the arrival of much-touted Ultimate Cut, and fans who would spend any amount of money if it meant adding more Watchmen releases to their shelves, will be quite pleased with the set as is. It boasts a stunning video transfer, a rousing Dolby TrueHD audio track, and a generous helping of special features and previously released titles. Unless you despise the very existence of yet another Watchmen cut, this 4-disc behemoth should already be in your cart or on your holiday wishlist.
According to data from Nielsen VideoScan First Alert for the week ended November 15, 54.31% of all sales of 'Watchmen: The Ultimate Cut' came from the Blu-ray edition. This is a new first-week record for a title simultaneously released on Blu-ray and DVD. 'Watchmen' ...
Warner Home Video has officially announced the Blu-ray release of 'Watchmen: The Ultimate Cut' for November 3. As we informed in July, this "ultimate" cut will contain the animated comic 'Tales of the Black Freighter' woven into the director's cut of the film. ...
As we reported on our previous post, a full 36 percent of disc sales of
Warner's 'Watchmen' have been on Blu-ray. This is a record-breaking figure,
even for action movies. For example, back in September 2008, 'Iron Man' got
"only" 17% of its sales from Blu-ray. ...
Early copies of the 'Watchmen: Director's Cut' Blu-ray are surfacing, and the release contains a flier with some early details of the Ultimate Collector's Edition of the movie. It will be released in December and will only be available through June 2010. Over two ...
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