by Josh Sewell
When Wonder Woman hit theaters in 2017, it was like someone opened a window in a hot, stuffy room. Director Patty Jenkins understood that superhero movies are supposed to be fun, so all the insufferable air of Zack Snyder’s grimdark Man of Steel and Batman v Superman dissipated for a moment. I was looking forward to seeing Wonder Woman 1984, the highly anticipated sequel, on the big screen last summer, but the COVID-19 pandemic put a stop to that.
Instead, I had to watch it at home last week. I can’t help but wonder (no pun intended) what the theatrical experience would’ve been like but seeing it on a smaller screen was still fun. However, considering there’s a big shift in tone from the first one, I imagine the latest installment could end up being more divisive.
As the title suggests, WW84 fast-forwards several decades. Diana Prince (Gadot) is no longer in the World War I era. Instead, she’s living in the vibrant 1980s, maintaining a low profile as a museum curator while she fights crime incognito (as evidenced by a funny, thrilling opening sequence in which she foils a jewelry store robbery). It’s in her day job that she discovers a strange artifact that allows its owner to receive what they wish for most.
Diana is skeptical at first, but when her long-dead love Steve Trevor (Chris Pine) suddenly reappears, she realizes something weird is going on. The situation escalates dramatically when the artifact falls into the hands of Maxwell Lord (Pedro Pascal), a Trump-like businessman who uses it to gain fame, fortune and political power. It also has a dangerous effect on Barbara Minerva (Kristen Wiig), one of Diana’s colleagues who wants to become more like her hero. However, viewers who’ve read “The Monkey’s Paw” know that wishes often come with unintended consequences.
Considering the bonkers plot of WW84, it’s hard not to think of it as Jenkins’ total rebuke to everything Zack Snyder believes the DC universe should be. Rather than wallow in darkness and misery, her film is weird and downright silly in places. In fact, a few sequences reminded me of the old Adam West Batman series. (Lest you think I’m being rude, I mean that a huge compliment. That show was a blast.)
Gadot is fantastic in the title role, though she primarily acts as straight woman to the more colorful supporting cast. As a man out of his element, Pine gets to be heroic and hilarious in equal measure. The action setpieces are great, but I would’ve been happy watching two hours of Steve trying on one ridiculous outfit after another as he tries to fit into a new world.
The other big standout is Pascal, who is having a huge cultural moment thanks to his work in The Mandalorian on Disney Plus. Where his vocal performance there is mostly terse and understated, he goes delightfully big here.
Much like the villains in the aforementioned Batman TV series, Pascal’s character isn’t really grounded in realism, aside from a moving devotion to his young son. Instead, his interpretation of Max Lord made me wonder how much more powerful Trump could’ve been in his ’80s real estate heyday if he was more charming and likable.
Wiig’s performance is more of a mixed bag. Through no fault of her own, she ends up being squandered by the film’s way-too-busy third act. However, she’s excellent in the first half as a shy, awkward coworker of Diana’s who is drawn to her charisma and beauty. The two actresses have a great rapport in their early scenes together, so it’s a shame the plot ends up separating them for large stretches later on.
Much like the first installment, the biggest weakness in WW1984 is a bombastic, confusing ending that feels studio mandated. Apparently, no one learned their lesson from the last decade of superhero flicks, when everything had to end with a big battle to stop a glowing doodad before it destroys the world.
Jenkins (who co-wrote the film with Geoff Johns and Dave Callaham) goes to such bizarre, fascinating places with the story that it’s a bummer to see it wrap up in such a conventional way. What’s more, the fate of some characters is left unclear, although I don’t know if that’s because Jenkins wants to revisit them in another sequel or if they just disappear in the chaos.
Despite the gradual loss of steam, the first two-thirds of WW1984 make it worth a watch. There’s still plenty of life left in these interesting characters and I’m curious to see where the franchise will take them next. I just hope the powers that be will give Jenkins more creative freedom. (If she decides to return, that is. Next up for her is a fighter pilot movie set in the Star Wars universe.)
Wonder Woman 1984 is rated PG-13 for sequences of action and violence. Opens Christmas Day in select theaters and also available on HBO Max.
Grade: B
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| Courtesy of Warner Bros. |
Instead, I had to watch it at home last week. I can’t help but wonder (no pun intended) what the theatrical experience would’ve been like but seeing it on a smaller screen was still fun. However, considering there’s a big shift in tone from the first one, I imagine the latest installment could end up being more divisive.
As the title suggests, WW84 fast-forwards several decades. Diana Prince (Gadot) is no longer in the World War I era. Instead, she’s living in the vibrant 1980s, maintaining a low profile as a museum curator while she fights crime incognito (as evidenced by a funny, thrilling opening sequence in which she foils a jewelry store robbery). It’s in her day job that she discovers a strange artifact that allows its owner to receive what they wish for most.
Diana is skeptical at first, but when her long-dead love Steve Trevor (Chris Pine) suddenly reappears, she realizes something weird is going on. The situation escalates dramatically when the artifact falls into the hands of Maxwell Lord (Pedro Pascal), a Trump-like businessman who uses it to gain fame, fortune and political power. It also has a dangerous effect on Barbara Minerva (Kristen Wiig), one of Diana’s colleagues who wants to become more like her hero. However, viewers who’ve read “The Monkey’s Paw” know that wishes often come with unintended consequences.
Considering the bonkers plot of WW84, it’s hard not to think of it as Jenkins’ total rebuke to everything Zack Snyder believes the DC universe should be. Rather than wallow in darkness and misery, her film is weird and downright silly in places. In fact, a few sequences reminded me of the old Adam West Batman series. (Lest you think I’m being rude, I mean that a huge compliment. That show was a blast.)
Gadot is fantastic in the title role, though she primarily acts as straight woman to the more colorful supporting cast. As a man out of his element, Pine gets to be heroic and hilarious in equal measure. The action setpieces are great, but I would’ve been happy watching two hours of Steve trying on one ridiculous outfit after another as he tries to fit into a new world.
The other big standout is Pascal, who is having a huge cultural moment thanks to his work in The Mandalorian on Disney Plus. Where his vocal performance there is mostly terse and understated, he goes delightfully big here.
Much like the villains in the aforementioned Batman TV series, Pascal’s character isn’t really grounded in realism, aside from a moving devotion to his young son. Instead, his interpretation of Max Lord made me wonder how much more powerful Trump could’ve been in his ’80s real estate heyday if he was more charming and likable.
Wiig’s performance is more of a mixed bag. Through no fault of her own, she ends up being squandered by the film’s way-too-busy third act. However, she’s excellent in the first half as a shy, awkward coworker of Diana’s who is drawn to her charisma and beauty. The two actresses have a great rapport in their early scenes together, so it’s a shame the plot ends up separating them for large stretches later on.
Much like the first installment, the biggest weakness in WW1984 is a bombastic, confusing ending that feels studio mandated. Apparently, no one learned their lesson from the last decade of superhero flicks, when everything had to end with a big battle to stop a glowing doodad before it destroys the world.
Jenkins (who co-wrote the film with Geoff Johns and Dave Callaham) goes to such bizarre, fascinating places with the story that it’s a bummer to see it wrap up in such a conventional way. What’s more, the fate of some characters is left unclear, although I don’t know if that’s because Jenkins wants to revisit them in another sequel or if they just disappear in the chaos.
Despite the gradual loss of steam, the first two-thirds of WW1984 make it worth a watch. There’s still plenty of life left in these interesting characters and I’m curious to see where the franchise will take them next. I just hope the powers that be will give Jenkins more creative freedom. (If she decides to return, that is. Next up for her is a fighter pilot movie set in the Star Wars universe.)
Wonder Woman 1984 is rated PG-13 for sequences of action and violence. Opens Christmas Day in select theaters and also available on HBO Max.
Grade: B
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