整个故事开始于1985年，在那个并不遥远的年代，美国各地爆发了大规模的骚乱，而一群身怀异能的超级英雄则协助政府镇压了叛乱，这群超级英雄平时都有着各自的普通人身份，并不以其真面目示人，而他们都有着各自的代号。为首的则是被称为“罗夏”的沃尔特·科瓦奇（杰基·厄尔·哈利饰），旗下则有“曼哈顿博士”乔·奥斯特曼（比利·克鲁德普饰）、“幽灵”萨利·朱庇特（卡拉·古奇诺饰）、“法老王”阿德里安·维迪特（马修·古迪饰）、“猫头鹰”丹·德尔伯格（帕特里克·威尔森饰）、“喜剧演员”爱德华·布莱克（杰弗里·迪恩·摩根饰）等人。这群超级英雄曾经帮助美国政府在数十年里处理了许多难以解决的大大小小事件，而他们在连年征战中，也都萌生了退意。在成功协助成功解决了这起波及美国政府的叛乱危机之后，这群超级英雄决定退隐江湖，而美国政府也答应了他们的请求。不过好景不长，没过多久，“喜剧演员”莫名其妙地从高楼坠下，不治身亡。超级英雄们对这件事大为震惊，而首当其冲的则是罗夏。在他与政府交涉之后，官方将这件事判定为意外，然后草草结案。对于这个结果，甚至超级英雄内部也有不少人也认为是没什么问题的，但罗夏对这起看似是一件普通意外的案件充满了怀疑，因此罗夏决定查清这起案件的真相。在追查真相的过程中，一名蒙面杀手的出现令罗夏一行人差点丧命，而这名蒙面杀手的真实身份神秘莫测，但极有可能是一名曾经参加过越战的退伍老兵，随着调查的深入，罗夏发现他也是一名超级英雄，而且这些超级英雄也是当年曾经效力于美国政府，只不过却被美国政府最后抛弃的“废物”。一个幕后操纵者重新聚集起了这群有着上天入地身手的退役超人，而他的目的则是最终颠覆整个世界……罗夏与他的朋友们，开始为拯救世界而努力。Soundtrack以为会以摇滚乐为主。但是居然包括了多首乡村歌曲和爵士乐，包括了大名鼎鼎的The Sound Of Silence。 As a comic book, Watchmen presented an alternate history of the 20th century, twisting the familiar into the surreal -- a proposition that is difficult, but not impossible, to replicate as a motion picture but very hard to pull off as a soundtrack, as the accompanying album to Zack Snyder's 2009 feature film illustrates. Snyder chooses to cherry-pick shop-worn chestnuts from every decade of the story's time line. There's a little Billie Holiday, a little Nat King Cole, a bit of Simon & Garfunkel and Janis Joplin, some ironic disco via KC & the Sunshine Band, some somber sobriety with Leonard Cohen's Hallelujah, and a whole lot of Bob Dylan (whose The Times They Are A-Changin' opens the film, underscoring a montage telling the story's alternate history), who is then covered by Jimi Hendrix and My Chemical Romance, whose truncated cover of the epic Desolation Row is performed in the style of the Sex Pistols, as requested of the band by Snyder. It's the only new song and it stands out in neon, as it's surrounded by songs that have been played to death and beyond. Perhaps in the context of the film Unforgettable, Me and Bobby McGee, I'm Your Boogie Man, and All Along the Watchtower are re-contextualized -- that is part of the point of the project, after all -- but as a record, the whole thing plays as dreary and predictable, with the notable exception of MCR's Desolation Row placed here at the beginning, not the end as it is in the film -- all the better to get attention. And it does get attention with its buzzy guitars and Gerard Way's affected snarl, but it's a clever conceit that arrives at a dead end because it shows no great understanding of either the '60s song or the '70s sound -- it's mashed together for stylistic effect, not thematic substance, showing no real understanding of what made either work or relevant for the time. It's all style and flash, so perhaps it does fit Snyder's spin on Watchmen.