Box office Watchmen was released at midnight on March 5, 2009, and earned an estimated $4.6 million for the early showing, approximately twice as much as
300, Snyder's previous comic book adaptation, earned. The film earned $24,515,772 in 3,611 theaters during its first day, and later finished its opening weekend grossing $55,214,334. At that point, it had the biggest number of screenings for an R-rated film, breaking the previous record held by
The Matrix Reloaded.
Watchmens opening weekend is the highest of any Alan Moore adaptation to date, and the income was also greater than the entire box office take of
From Hell, which ended its theatrical run with $31,602,566. Although the film finished with $55 million for its opening, while Snyder's previous adaptation
300 earned $70 million in its opening weekend, Warner Bros.' head of distribution, Dan Fellman, stated that the opening weekend success of the two films were not comparable because
Watchmen's runtime was 45 minutes longer than
300, allowing for fewer showings a night.
Watchmen pulled in $5.4 million at 124
IMAX screens, the second-largest IMAX opening at that time. Following its first week at the box office,
Watchmen saw a significant drop in attendance. By the end of its second weekend, the film brought in $17,817,301, finishing second on that weekend's box office chart. The 67.7% overall decrease was at the time of its release one of the highest for a major comic book film. Losing two-thirds of its audience from its opening weekend, the film finished second for the weekend of March 13–15, 2009. The film continued to drop about 60% in almost every subsequent weekend, leaving the top ten in its fifth weekend, and the top twenty in its seventh. and the sixth-highest-grossing R-rated film of the year, behind
The Hangover,
Inglourious Basterds,
District 9,
Paranormal Activity, and ''
It's Complicated. At the North American box office, Watchmen'' currently sits in the lower half of the forty-six films based on a DC Comics comic book, narrowly ahead of 1997's
Batman & Robin.
Watchmen earned $26.6 million in 45 territories overseas; of these, Britain and France had the highest box office with an estimated $4.6 million and $2.5 million, respectively.
Watchmen also took in approximately $2.3 million in Russia, $2.3 million in Australia, $1.6 million in Italy, and $1.4 million in South Korea. The film collected $77,873,014 in other territories, bringing its worldwide total to $185,382,813. On
Metacritic, which assigns a
weighted average rating reviews from mainstream critics, the film has a score of 56 out of 100, based on 39 critics, indicating "mixed or average" reviews. Audiences polled by
CinemaScore gave the film an average grade of "B" on an A+ to F scale; the primary audience was older men. Patrick Kolan of
IGN Australia awarded it a perfect 10/10 and wrote, "It's the
Watchmen film you always wanted to see, but never expected to get."
Roger Ebert gave it four out of four stars and wrote, "It's a compelling visceral film—sound, images and characters combined into a decidedly odd visual experience that evokes the feel of a graphic novel." Richard Corliss of
Time concluded, "this ambitious picture is a thing of bits and pieces," yet "the bits are glorious, the pieces magnificent." Jonathan Crocker of
Total Film awarded it 4/5 stars, writing, "It's hard to imagine anyone watching the
Watchmen as faithfully as Zack Snyder's heartfelt, stylised adap. Uncompromising, uncommercial, and unique." When comparing the film with the original source material, Ian Nathan of
Empire felt that while "it isn't the graphic novel... Zack Snyder clearly gives a toss, creating a smart, stylish, decent adaptation." Nick Dent of
Time Out Sydney gave the film 4 out of 5 in his review of February 25, praising the film's inventiveness but concluding: Some critics who wrote negative reviews disliked the film's use and depiction of the
Cold War-period setting, stating that the film's attempt to use the 1980s fears that never came to pass felt dated, and that Snyder's slavish devotion to faithfully adapting the source material as literally as possible did not allow his work to exhibit a creative distinctiveness of its own, and that as a result, the film and its characters lacked vitality and authenticity. Devin Gordon wrote for
Newsweek, "That's the trouble with loyalty. Too little, and you alienate your core fans. Too much, and you lose everyone—and everything—else." Owen Gleiberman's
Entertainment Weekly review reads, "Snyder treats each image with the same stuffy hermetic reverence. He doesn't move the camera or let the scenes breathe. He crams the film with bits and pieces, trapping his actors like bugs wriggling in the frame." "[Snyder] never pause[s] to develop a vision of his own. The result is oddly hollow and disjointed; the actors moving stiffly from one overdetermined tableau to another," said Noah Berlatsky of the
Chicago Reader. David Edelstein of
New York agrees: "They've made the most reverent adaptation of a graphic novel ever. But this kind of reverence kills what it seeks to preserve. The movie is embalmed." Joe Morgenstern of
The Wall Street Journal wrote, "Watching 'Watchmen' is the spiritual equivalent of being whacked on the skull for 163 minutes. The reverence is inert, the violence noxious, the mythology murky, the tone grandiose, the texture glutinous." Donald Clarke of
The Irish Times was similarly dismissive: "Snyder, director of the unsubtle
300, has squinted hard at the source material and turned it into a colossal animated storyboard, augmented by indifferent performances and moronically obvious music cues." The trade magazines
Variety and
The Hollywood Reporter were even less taken with the film. Justin Chang of
Variety commented, "The movie is ultimately undone by its own reverence; there's simply no room for these characters and stories to breathe of their own accord, and even the most fastidiously replicated scenes can feel glib and truncated," and Kirk Honeycutt of
The Hollywood Reporter writing, "The real disappointment is that the film does not transport an audience to another world, as
300 did. Nor does the third-rate
Chandler-esque narration by Rorschach help...Looks like we have the first real flop of 2009." Analyzing the divided response, Geoff Boucher of the
Los Angeles Times felt that, like
Eyes Wide Shut,
The Passion of the Christ, or
Fight Club,
Watchmen would continue to be a talking point among those who liked or disliked the film. Boucher felt in spite of his own mixed feelings about the finished film, he was "oddly proud" that the director had made a faithful adaptation that was "nothing less than the boldest popcorn movie ever made. Snyder somehow managed to get a major studio to make a movie with no stars, no 'name' superheroes and a hard R-rating, thanks to all those broken bones, that oddly off-putting Owl Ship sex scene and, of course, the unforgettable glowing blue penis." In 2023, director
Christopher Nolan said that Snyder's version of
Watchmen was ahead of its time and that it should have been released "post-
Avengers". He added that "The idea of a superhero team, which it brilliantly subverts, wasn't a thing yet in movies."
Accolades Watchmen was nominated for one award at the
2009 VES Awards, seven awards at the
36th Saturn Awards, and 13 awards at the
2009 Scream Awards. The film was also pre-nominated for the
Academy Award for Best Visual Effects, although it did not make the final shortlist. ==See also==