Wonder Woman 1984

Wonder Woman 84 is a generational film, it's not simplified, and it's not straightforward. Certain ideas or the performances of individuals may occasionally stutter, but as a whole, it's a distinctive experience. The situation in comics in 1984 was very complicated, the entire DC Universe was due for a major reboot. Having been born in 1971, director Patty Jenkins is very nostalgic about the era, forgetting that superhero comics were not nearly the global phenomenon they are today, making her film less accessible to certain potential markets. The same is true for the general realities of this decade, from which WW84 picks only a certain part. It's not as clear-cut as the first Wonder Woman, which was set in a clear escalating conflict. The second film lacks the comparatively breathtaking climax that was Wonder Woman's triumph in No Man's Land. It took a very long time for classic superheroes to be domesticated in the comics even in the post-war world, and for the newly introduced heroes in the movies, the same path has to be followed, and while it may be different, that doesn't mean it will be any less rough. It's irrelevant that the film Wonder Woman first fought in the trenches of World War I, though in the comic books Wonder Woman wasn't born until the fight against Nazism. Never mind that the film sequel fetishizes an era irrelevant to the comic book Wonder Woman, rewriting her story to best illustrate today's view of her role in society while dealing with the trauma of Americans today. Importantly, this icon of the 20th century, the essence of femininity in all its forms, continues to inspire. Because that is her main message. At heart, Diana of Themyscira is not an ordinary kid from Kansas or a millionaire orphan, Diana is an ambassador of peace in a world of people whether in costume or in plain clothes. The year of repeated postponement of the premiere was very difficult - I was looking forward to the sequel and the eventual film surprised me a lot. I'll be happy if there's a third film. I'd definitely go watch it again in the IMAX, preferably both films. (31/12/2020)

In WW84, there are scenes that are at best average for this genre or stupidly cut short and/or just plain stupid layering clichés upon clichés. All the eccentricities you'd expect and forgive from the Superman: The Movie because it was a pioneer of modern comic book movies and also because it was made in the year 1978, and here the creators try to sell this as a cool retro throwback thing, but it is very much lacking in terms of the screenplay and rests on its laurels. The action scenes are probably the weakest points of the movie as a whole. Patty Jenkins does not really succeed at shooting action using unnatural-looking CGI, like in the first movie, and putting a total of only 4 short and indistinct action scenes into a 151-minute giant blockbuster is almost a crime. Maybe that's why it didn't even bother me as much as in the first movie. Otherwise, this movie is in all ways a forgettable watch, which actually received more media attention than it is actually really worth. (28/12/2020)

Maybe if some day I watch the original Superman movies and the naive and colourful comic-book flicks from the 80s and 90s, I will be able to appreciate this one as beautifully nostalgic and intentionally campy trash, but right now, other than the massive naivete and the contrived retro atmosphere, I don’t see anything special that would leave me flabbergasted in the good sense of the word; maybe only the celebrated parting of the love-birds, which some day may be seen as the most bizarre farewell of this mad 2020. Otherwise, I wonder how long Gal Gadot can keep on compensating her lack of acting talent with her inimitable beauty – in roles like this, it will still take some time. 50% (27/12/2020)

If it’s going to be 1984, then with everything that comes along with it, was probably said by Patty Jenkins et al., and the second Wonder Woman was written and filmed exactly as it would have looked 37 years ago. That is, with a fairy-tale plot, in which there is also the threat of the Cold War and the victory of the most important human values, with the main (semi) divine protagonist, who distributes smiles in all directions, eliminates villains without killing (do not expect the sword and shield, Diana's only weapon is a lasso) and she is tormented by unhappy love, with a super-exaggerated and amusing villain whose plan evokes a smile, and with only a few action scenes. But we don't have to wait long for them, as some people complain, because what's between them is entertainment. I really like this concept. Gal Gadot clearly enjoys her relaxed position, absolutely great is Pedro Pascal, who plays Max Lord in exactly the same way Gene Hackman played Lex Luthor, Chris Pine has comedic talent and is still amazed by everything, and hats off to Kristen Wiig, whose Barbara, on the other hand, was obviously inspired by Selina/Catwoman, played by Michelle Pfeiffer, and who gradually transforms without any effects, only thanks to her acting and increasingly animalistic costumes. In the end, I have to do something I haven't done in a long time, and that is to praise the music of Hans Zimmer, who mixes a Williams orchestra full of jubilant Superman fanfares with Morricone romance, period synths and his typical drone (and the Lion King). (16/04/2021)

Gal Gadot's natural femininity and old world elegance and refinement and the opening triathlon are about all you should (not) see Wonder Woman 1984 for, and I'm sure some editing of the top moments (about 3-4) will be quite enough. The rest is merely tired screenwriting filler that doesn't honor the main character's abilities and her character as such, nor the laws of physics, nor, in fact, any plot cohesion so that you can watch it in peace without rolling your eyes in disbelief. (10/01/2021)