‘Wonder Woman 1984’ Review: It’s Not About About We Want

When Wonder Woman first entered the big screen in 2017, the possibilities for the character felt endless. After 76 years without a blockbuster to call her own – she recreated the comics in 1941, flashing the bracelet – she had made it, becoming a box-office sensation. And, yay! The movies feature the sexpot Vixens in Bottom Wear (meow) and the feather-piercing good girls, so it was a relief that it was neither Wonder Woman. He was sovereign, powerful and mildly charming, and even when the film joked with him, it took the character, his mighty sword, and cultural significance seriously.

First movie Largely set during World War I, which set the scope for future adventures and elevated times for imports. The sequel’s title, “Wonder Woman 1984”, states that some juicy Orwellians are in the integration offing. Will Wonder Woman, aka Diana Prince (Gal Gadot), toss jelly beans into Ronald Reagan, hijacking a Soviet cruise missile? As it turns out, the year mostly proves to be an excuse to stack side ponytails, fanny packs and nostalgic nods leading to blowouts like Hollywood, with cartoon violence and hard-bodied macho types. What is Wonder Woman doing in these campy, recycled legs? Who knows? Obviously not a filmmaker.

Patty Jenkins is behind the camera again, but this time without confidence. Certainly some of the problems can be pinned down in a seamlessly lively script, a mess of goofy jokes, story-telling clibs and questionable politics. (It was written by Jenkins, Geoff Johns and Dave Calham.) Is a mysterious artwork; An Evilor seeking the domination of the world (bonus: he is a bad father); And one of those comic-book wallflowers that transforms into a sexy observer – you know, like always. This is completely immoral, but the parts used are not “Wonder Woman 1984”. Familiarity is, after all, one of the foundations (and pleasures) of cinematic genres and franchises.

What matters is how weird these elements are – heroes and villains, jokes and action sequences – together. For starters, as with many contemporary paintings, it starts better than the finish. (It plays like an elevator pitch, all setup without delivery.) It dynamically opens with some aerial gymnastics and horses waving with tight, muscular thighs during some sort of Amazon Olympics in Diana’s princess’s childhood. This memory down memory lane may be necessary for viewers who had not seen the first film. But in terms of the rest of this film, it’s like the opening of a one-hit band with its only claim to fame.

Eventually, the film kicks off in its 1984 business, and the pace shifts to lethargy. The story is packed in a lot of baggage and characters but without purpose or urgency. (It could have used more of the typical electric cello that helped juice up the action of the first film, giving it a signature hook.) Kristen Wiig has some fun as a wallflower, but Pedro Pascal as the villain du jour Has been badly abused. Wonder Woman’s great love, Steve (Chris Pine), inexplicably tells a lot, much like Patrick Swayze in “Ghost”, though the details have faded. Pine gives the film a heart (and oomph), as well as emotional expressiveness, which is essential given Gadot’s narrow range.

In his first super-outing, Gadot was extremely pivotal in a film that at times went smoothly despite it. She was a confidant and also attractive, because the character was also fierce and uncaring. That Diana was also a hawk, who accompanies the mythical realm, though the story gave her a justification as Ares, the god of war. We must stop him, he told Amma’s ruler aka Mom. It is “our forerunner”, Diana insisted, long embracing the interventionist belief that defines American cinema. But as long as he is in power through the Middle East in the sequel, the ideological creed just looks like an assertiveness of power.

Although there is no official war in “1984”, Jenkins et al. Trouble needs to be instigated, an obligation that causes busyness in scenes. The film chronographs hand-to-hand (and hand-to-paw) battles and flying bodies, roaming shopping centers and elsewhere with trucks and WhatsApp. During a fight, Wonder Woman pauses the sound of some anti-gunfire, announcing all the guns and ammo in the two films. As before, Jenkins brings the camera low in the best moments, so you can admire how Wonder Woman slides and sweeps across the field, her long legs reducing opposition.

In the end, the film does not become the reason why Wonder Woman goes beyond the obvious commercial imperatives. It is a given that a franchise is produced to create banks, etc., but the best chapters have a reason for life, personality, being and fighting. They expand on the mythology of their characters, using the past to explore the present. Three years ago, Wonder Woman emerged to rely on male abuse and power; The timing was coincidental, but it also made the character worthwhile. In 2017, when Wonder Woman was committed to saving the world, her horizons seemed limitless. I did not expect that her next big adult fight would be at the mall.

Wonder Woman 1984
Rated PG-13 for comic-book violence. Running time: 2 hours 31 minutes. Watch on HBO Max.

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