“Wonder Woman 1984” Review!

There’s a small but memorable scene in Wonder Woman 1984 in which the film’s major antagonist, Maxwell Lord (the irresistibly charming Pedro Pascal), having just worked his dark magic on the President of the United States and sparked an all-out nuclear war with the Soviet Union, tries to escape from an altercation at the White House only to find himself awkwardly handcuffed to Steve Trevor (Chris Pine), Wonder Woman’s quick-thinking sidekick and lover. I bring this up because it’s representative of the film overall, which handcuffs itself to Pine’s Trevor and stubbornly sticks to him even as his very presence in the story demands that the entire plot revolve around him and not the lead character. The only way this metaphor could have been made even stronger would be if Wonder Woman herself were handcuffed to Trevor in this scene to reflect the film’s inability to give independence or agency to its female characters.

Wonder Woman 1984
Wonder Woman | cnbc.com

Make no mistake, I loved Pine in the first film – and I adored the mature, elegant romance between him and Diana Prince (Gal Gadot): which was written in such a way that both characters could be strong and vulnerable with each other, and both had equal footing – with Diana clearly and effortlessly remaining the lead. Trevor’s death in Wonder Woman was a heartbreaking and powerful moment that allowed us all to see the good in humanity. And yet he’s back in Wonder Woman 1984, nearly a century after his death in World War I, doing pretty well for a guy whom we last saw get blown to bits in mid-air. Prior to the film’s release, I was as excited as anyone to see him return: in hindsight, I’m beginning to realize how foolish it was to ever attempt something that could so easily go so wrong…and did.

It’s blasphemous to even suggest, I know. The first film relied so heavily on that spark of chemistry between the two actors and their characters. But Wonder Woman 1984 had the means to substitute that timeless pairing for another one that could have been just as well-written and well-received, if director Patty Jenkins and her team of screenwriters hadn’t decided to resurrect Steve Trevor for one last lackluster hurrah: because let me tell you, everything that’s bad about this film’s flawed script, from the convoluted globe-trotting adventure to the random interlude with a Mayan shaman, feels to me like the inevitable side-effect of having to devise an excuse for how Steve was even able to come back at all.

And with the return of Steve Trevor, Diana herself gets sidelined in a story that seems almost uninterested in her as an individual. She’s got nowhere left to go and nothing new to learn, essentially. A vague theme about the importance of being true to yourself is woven throughout the film, but it’s not exactly an urgent message that Diana personally has to embrace, unlike the first film’s timely reminder to believe in the goodness of people. She was being true to herself anyway, before Steve randomly came back into her life and took over her entire storyline (oh, the parallels to Avengers: Endgame). I mean, it’s really a shame there was no way to weave this message more cleverly into the plot and romantic subplot by…oh I don’t know, making this a queer love story?

Just as DC preceded Marvel in the department of successful female-led superhero movies, many of us had hoped they’d be the first to give us a proudly and openly LGBTQ+ superheroine onscreen in the form of Diana Prince (Harley Quinn was vaguely bisexual in Birds Of Prey, and a supervillain anyway). We’ve known for some time that wouldn’t be the case, with Patty Jenkins confirming that wasn’t the story she wanted to tell. But what we get instead is a film that tiptoes around even the possibility of a same-sex romance as clumsily as Barbara Ann Minerva (Kristen Wiig) strides around the Smithsonian in high heels. Now, to be fair, most of the romantic tension between Diana and Barbara is more a result of the palpable chemistry between the two actresses (the quiet, ethereal Gadot and sparky, exuberant Wiig complimenting each other very nicely), rather than necessarily indicative of anything intentionally written into the script, but at the same time…come on. Both Diana and Barbara are canonically bisexual in DC Comics, and you’re telling me Patty Jenkins didn’t know what she was doing by casting a romantic filter over their awkwardly flirtatious lunch overlooking the Washington Monument, or having Barbara tumble into Diana’s arms in a subversion of a dated Hollywood romantic trope? It’s queerbaiting that only serves to underscore the fact that the rest of the movie is, in the words of one of my favorite reviewers, Valerie Complex; “aggressively heteronormative”.

Wonder Woman 1984
Cheetah | flickeringmyth.com

To the surprise of absolutely no one, the scenes that center women are the highlights of the film: from those early interactions between Diana and Barbara, to the epic prologue action sequence on the Amazonian isle of Themyscira, to a cheeky and delightful mid-credits scene. But none of these isolated scenes make up for the fact that the character arcs of both female leads in Wonder Woman 1984 (one of those female leads being a literal icon of feminism) revolve almost entirely around men. For Diana, that’s Chris Pine’s Steve, who returns with the help of an incredibly convenient plot device and plays fish-out-of-water for a while…a really long while, during an excruciating montage that exists solely to trot out every semi-nostalgic 80’s cultural trope you can imagine. Pine is still perfectly likable and has some laugh-out-loud line deliveries, but never truly recaptures what made his character so special – and thus feels like a burden the film must carry.

For Barbara Ann Minerva, it’s Pedro Pascal’s Maxwell Lord – who is quite an interesting character, despite being surprisingly little like the young Donald Trump we all assumed he would be based on the promotional material. An oil tycoon with his eye on a legendary ancient wishing stone forged by the Gods, Lord seduces the world with his voice and power to make the impossible possible. He’s got Trumpian elements to his character, of course (among the more obvious examples: he yells “You’re hired!” at one point), but his motivations are relatable, and his charm genuine. Pascal also just oozes the kind of unshakably consistent charisma that can turn a silent, faceless gunslinger into a beloved icon, or make a dumpster fire of a movie like We Can Be Heroes shockingly entertaining.

Minerva herself does get to transform into the anthropomorphic Cheetah we know from the comics, and the CGI isn’t entirely awful as she flails about in her dimly-lit third-act duel with Diana (or perhaps Diana’s Golden Eagle armor is so distractingly awful I didn’t notice), but she deserved to be the major antagonist of this film, and not merely Maxwell’s loyal henchwoman. I’m also afraid that Wiig’s excellent dramatic performance and thrilling action sequences will be overshadowed in the larger fandom discourse.

Apart from Wiig’s notable fights (particularly her brutal takedown of a drunk man who continually harasses her on her jogging route), the action in Wonder Woman 1984 is fairly slight, with the only other standout being the prologue on Themyscira, where the Amazons compete for honor and glory in a series of challenges that test their physical abilities. If Jenkins is going to commit to having Diana only use her Lasso of Truth as a weapon (an idea I actually really like, as it reflects the character’s refusal to kill), she just has to find better ways to incorporate it into action scenes, because it can too easily come off as overly ridiculous.

Wonder Woman 1984
Wonder Woman | cbr.com

Jenkins did make other “campy” elements from the character’s mythology work for Wonder Woman 1984, though, including Cheetah (doesn’t matter if she’s dressing up as a cat, or literally morphing into one: it’s still a hilariously campy concept), and the Invisible Jet – which comes about through a bizarre but acceptable deus ex machina. Unlike Shazam, this film isn’t trying to be goofy or funny: it still takes itself very seriously, and thus comes across as uniquely earnest for a superhero movie. In some ways, I’d say that’s one of several ways in which the movie evokes real 80’s adventure movies: both the good and the bad. The heightened sense of adventure, the not-so-great CGI you’re willing to excuse because everything happening onscreen is just so much fun, and the outdated perceptions of women and foreign nations that make us cringe deeply in our souls (we just need to collectively stop letting white American directors write North African and Middle Eastern nations into their scripts, because they’ve proven they’re not up to the task of handling those nations and their individual cultures at all well).

There’s still plenty of hope for the Wonder Woman franchise in the near future. We’re not dealing with another Crimes Of Grindelwald here (although the box-office reception would seem to disagree). But the divisive audience reactions and legitimate criticisms of Wonder Woman 1984 should hopefully alert Warner Brothers to the need to put this series back on track with better screenwriters and a stronger, more cohesive focus on women as individuals with their own storylines….even (and especially) if that means no more Steve Trevor.

Movie Rating: 6.5/10

“Wonder Woman 1984” DC Fandome Trailer!

https://www.youtube.com/watch?v=XW2E2Fnh52w

“Barbara, what did you do?”

What Barbara Ann Minerva has done is somehow steal the spotlight in the second official trailer for Wonder Woman 1984, released today at the opening panel of the online DC Fandome event. Even with the epic trailer showcasing new scenes of Wonder Woman herself, all eyes are on one thing: Barbara Ann Minerva, and her grisly transformation into the apex predator she’s always dreamed of becoming – the animalistic supervillain Cheetah.

How could she not be the main focus of this trailer? For months, we’ve been waiting eagerly to catch any official glimpse of her look, and relished all the merchandise leaks that have given us hints: but nothing beats the real deal. And even though her scenes in this trailer are darkly-lit (making me question whether her design is still being worked on behind-the-scenes?), there’s enough here to make it obvious that she will be a formidable villain to Wonder Woman, armed with fearsome claws, super-strength, incredible stamina and agility, and a feral bloodlust for power. In fact, as much as we all love Wonder Woman and want to see her take the lead, it’s hard not to watch this trailer and wonder whether Barbara Ann Minerva’s tragic story will form the emotional core of this hotly-anticipated upcoming DC movie.

Wonder Woman 1984
slashfilm.com

Wonder Woman 1984 will tackle many issues, some of which are alarmingly relevant today: the main conflict comes from Maxwell Lord, a charismatic con-man (intentionally modeled off a younger Donald Trump) selling lies, empty promises and cursed gifts to the gullible, with both Wonder Woman and Barbara Ann Minerva being ensnared by his spell. But whereas Wonder Woman presumably gets a reunion with Steve Trevor, the former love of her life, as part of her bargain with Lord, Barbara Ann Minerva gets superpowers which put her on equal footing with her arch-nemesis but have the side-effect of turning her into a horrific animal/human hybrid. When I say “horrific”, I mean that in a good way…not in, like, a Cats way. It’s difficult to say when she’ll obtain her powers, however, because most of her action scenes (such as her fight with Wonder Woman in the hallways of the White House) have her wearing an extremely fashionable cheetah-print jacket and high-heeled boots, complemented by a messy mane of blond curls. That and her black evening attire when she strolls into high-society for the first time are still her best looks, based on what we’ve seen so far.

Wonder Woman
cinemablend.com

But while it’s Cheetah that has captured my attention, there are other standout moments in this trailer: we once again see Wonder Woman lassoing lightning and swinging through the clouds, but she has tranquil, emotional beats with Steve Trevor as well (walking past the Washington Monument in what is sure to be a lovely romantic scene), and the duo are just as humorous as ever – Steve Trevor, a man out of time, is clearly having a hard time adjusting to 80’s fashion norms, though if anyone can rock a fanny-pack and parachute pants, it’s him. There’s more footage from the gravity-defying Amazon Olympics on Themiscyra, a sequence which I’m sure must have some significance to Wonder Woman’s arc, but for now just looks really cool.

The trailer is lacking just one thing, and that’s a catchy, era-appropriate song choice. It’s not too major a problem, but it does feel like a downgrade after the first trailer‘s brilliant use of an electronic instrumental rendition of “Blue Monday” by New Order.

So how are we feeling, DC fans? Share your own thoughts, theories and opinions in the comments below!

Trailer Rating: 8/10

“Wonder Woman 1984” Trailer Review!

Yes, this is really happening. Diana Prince, the world’s one and only Wonder Woman, has officially returned in the first trailer for her long-awaited sequel movie, Wonder Woman 1984.

The trailer finds Diana living her best life in the 1980’s, far removed from the horrors of warfare that she braved and defied in her origin movie: elegant and mature, she’s now a wine-sipping, evening gown-wearing celebrity with a fancy apartment in Washington D.C., and easy access to the flashy, vibrant world of the rich and famous. She’s got new friends, including the quirky, clumsy Barbara Ann Minerva, and new enemies, like Pedro Pascal as a charming but suspicious businessman and motivational speaker named Maxwell Lord (more on both these characters in a moment). And of course, she’s joined once again by the love of her life, Steve Trevor, who appears as if by magic to dance with her at a party – there’s no explanation yet for how he’s miraculously returned from the dead, but I think the trailer gives us plenty of clues.

But first: the 80’s. There’s been a lot of tension in the DC fandom recently about whether or not it’s a mistake to take the normally serious and epic character of Wonder Woman and place her in a time period so often associated with…well, shoulder pads and bangles. But Diana fits perfectly in this era – not only when she’s living it up in the big city, but also when she’s going full 80’s action hero: lassoing bad guys in the White House, swinging from lightning bolts (she is the daughter of Zeus, after all), and blowing up an entire caravan of heavily-armored military trucks. So everybody who was worried that a 1984 setting meant cheesy comedy and nauseatingly bright colors can cool it – this movie has the best of both worlds. Incredible action and techno music.

And who will she be fighting? Surprisingly, we still don’t have any idea what Barbara Ann Minerva will look like as the anthropomorphic super-villain Cheetah (though she does sport a lavish cheetah-print outfit at one point: a far cry from her other appearance in the trailer, which has her wearing giant round glasses and a rather bizarre hairstyle). But we do get a long look at Maxwell Lord, who also has a wide range of stylistic choices in these two minutes: he’s a dapper, sickly sweet collector of ancient artifacts, who has the power to make dreams come true – rumor has it that he will grant Barbara Ann’s wish to be a superhuman, and Diana’s personal, unspoken wish to be reunited with Steve Trevor.

As for Steve and Diana, their romance is still just as strong as ever, and they have a couple of cute moments – riding in Diana’s invisible jet and visiting museums together (Steve Trevor not being able to tell modern art apart from garbage cans is very relatable). But the focus is all on the woman herself, and her new, impressive suit of golden armor, which comes with unfolding wings. She doesn’t even need a Godkiller sword at this point, because she just is the weapon. Diana’s really out here about to rock this world to its core, and I don’t know if we as a society are ready for that.

Scratch that – I am. June 5th can’t come soon enough.

So what do you think of the trailer? Share your thoughts, theories and opinions in the comments below!

Trailer Rating: 9.5/10