Watchmen reviews suggest bomb-in-waiting?

by Stevie Smith - Mar 3 2009, 18:00

Widely lauded as one of the best graphic novels of all time, fans of Alan Moore's and Dave Gibbons' Watchmen (1986) have been waiting, and waiting, and waiting for the big-screen adaptation to eventually appear.

However, despite being finally ready to hit theatres following endless delays, the most recent of which was caused by Warner Bros. and 20th Century Fox squabbling over copyright, initial critical reaction to Watchmen would perhaps suggest the celluloid payoff will not be worth the considerable wait.

Indeed, the first wave of aggregated review scores amassed by online service Metacritic currently places the eagerly anticipated movie at a mere 35 points out of a possible 100, which translates to “generally negative reviews” according to the site’s explanation of collated averages. 

Long since labelled as a property that many believe is all-but impossible to transfer to film, hardened Watchmen purists are likely nodding knowingly as the reviews begin to trickle in ahead of the movie’s looming March 06 release date (U.S.). However, not all of the feedback has been damning in its appraisal of director Zack Snyder’s vision.

Indeed, while Variety says the movie is “ultimately undone by its own reverence,” NewsWeek calls it “confusing” and “maddeningly inconsistent,” and The Hollywood Reporter simply brands it is “nonsense,” prominent UK movie and entertainment publication Empire begs to differ.

“Okay, it isn’t the graphic novel,” concedes reviewer Ian Nathan, “but Zack Snyder clearly gives a toss, creating a smart, stylish, decent adaptation, if low on accessibility for the non-convert.”

Generally positive with his critique, Nathan has awarded Watchmen with four stars (or 80/100 on Metacritic), its highest current review score.

However, of the seven reviews presently painting something of a dour picture for those not already invested in Watchmen, scores of 67/100 (Entertainment Weekly), 50/100 (Variety), 40/100 (NewsWeek), 30/100 (New York Magazine), and 20/100 (both The New Yorker and The Hollywood Reporter), leave the film facing a distinctly uphill climb.

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