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Len's directing the pilot. Not sure he's staying past that. He also directed the pilots for some other shows (and yes, he created Underworld). But he's not the showrunner, and he's not writing.
Len's directing the pilot. Not sure he's staying past that. He also directed the pilots for some other shows (and yes, he created Underworld). But he's not the showrunner, and he's not writing.
All true. And who knows? Even a hack director can manage to put out a great piece of work. Check out THE RUNDOWN (one of Dwayne John's first movies, directed by Peter Berg). I really, really hope SWAMP THING turns out great.
But DC Films over the past 5-10 years have displayed a remarkable lack of vision and self-examination. They throw stuff out with no over-arching vision or plan, then consistently fail to learn from their mistakes. Have you seen the preview trailer for TITANS? I cannot imagine what they were thinking. Did some executive stand up in a board meeting and say, "You know what's missing from all our CW shows? F-bombs. Let's just basically do the same thing we've been doing, only throw in some F-bombs and poorly lit alley sets to show that we're being all dark and edgy now."
Watchmen is set in a parallel-universe 1985, in which costumed crime-fighters briefly existed before the U.S. government banned them. As the film begins, one of the ex-superheroes is brutally murdered, and a morally dubious former ally decides he’s going to solve the crime. The story quickly balloons into a twisty conspiracy thriller, introducing a series of former superheroes and dipping into global politics in a way that… well, let’s just say it feels uncomfortably resonant in 2018.
I don’t want to overpraise this movie. Several very good actors, including Malin Akerman and Matthew Goode, are simply miscast in the roles they’ve been given. Director Zack Snyder’s distinctive visual style—which has since been employed, to rapidly diminishing effect, in DCEU movies like Batman v. Superman: Dawn of Justice—becomes headache-inducingly monotonous around the third action sequence. And the less said about the now-infamous sex scene set to Leonard Cohen’s "Hallelujah," the better.
But Watchmen also contains moments of startling power. Even Watchmen haters usually acknowledge the effectiveness of the opening montage, which tweaks a series of iconic moments in American history to the tune of "The Times They Are a-Changin’." But there are plenty of other highlights scattered throughout. The sequence that focuses on the death and rebirth of Dr. Manhattan is the best origin story I’ve ever seen in a superhero movie. It’s visually stunning, perfectly edited, and put against a killer Philip Glass cut. A similar sequence, which explains the origin of fan-favorite character Rorschach, is similarly effective. And with apologies to hardcore Watchmen fans, I prefer the movie’s streamlined ending to the bonkers fake-alien subplot from the original comic.
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I cannot imagine what they were thinking. Did some executive stand up in a board meeting and say, "You know what's missing from all our CW shows? F-bombs. Let's just basically do the same thing we've been doing, only throw in some F-bombs and poorly lit alley sets to show that we're being all dark and edgy now."
