![]() There is no way that the father, who wished for their child to be healthy again, would unwish their wish simply because someone on the television told him to do so. So the chance that everyone, every, single one, of the people that wished, unwished is little to none. There are a lot of people that made a wish. Wonder Woman tells everyone they should unwish their wish. This turned the movie into a chaotic mess that can’t be solved simply by regular means. The main antagonist, who absorbs the power of the stone, tells everyone that they should wish for whatever they should. Although this concept has been done before, this was a bad implementation of it. The movie revolves around a stone that can make wishes come true, but when you make a wish, it will also take something important from you. Wonder Woman 1984, on the other hand, lacked on so many levels. They took what made her interesting in the movie.” Still, the good stuff in 2017’s Wonder Woman was enough to get me to forgive that movie’s similarly botched climax, and the good stuff in WW84 will be more than enough for a lot of fans desperate for a new superhero movie after the drought of 2020.I think that it should have been about her being a hero, but not being a hero just because she has superpowers. But the movie’s constant whiplashing between its storylines means their resurrected romance doesn’t affect the larger narrative the way it might have, and is ultimately steamrolled by a noisy CG finale that somehow involves both an 80s greed-is-good mantra and global thermonuclear war. For all of its attempts to re-create the dynamics and situations of the first film, WW84 allows Diana and Steve to pick up right where they left off, and it’s just swell. There’s a lovely warmth to Gadot and Pine’s chemistry, a mutual admiration and attraction that runs through their every interaction. The film’s best sequences – the rousing Themyscira triathlon (in IMAX!) that opens the film, a thwarted mall heist, a thrilling desert truck chase and pretty much everything involving Diana’s reunion with her lost love Steve Trevor (Chris Pine) – barely impact the story at all.ĭon’t get me wrong, those elements are really, really satisfying. But because this is a comic-book movie, every wish comes at a cost, and Lord’s unquenchable desire for status and power leads to chaos that ultimately threatens the whole planet.Īnd by the final hour, as the movie’s story is swamped by incoherent choices and an ending that just won’t, well, end, I was aware of how awfully hard I was working to find things to enjoy. Diana makes a wish too, and even gets what she wants. ![]() The story revolves around an ancient wishing stone that Lord – here reimagined as a TV pitchman and failing oil tycoon – sees as his path to success, and which Wiig’s awkward Smithsonian employee Barbara Minerva uses to make herself as strong and confident as her co-worker and new friend Diana Prince. But for all that, WW84 ends up being this cycle’s Superman III, trying to be everything to everyone… and coming up short in every way. WW84 opens with a tournament and a modestly scaled mall heist, striking a more playful tone that seems intended to connect it to the Superman movies that were being produced at the time, where stories could be smaller and less bombastic. That last thing rarely works, but she never stops trying, which is both inspiring and tragic Diana’s faith in ordinary mortals is forever being tested by the mortals refusal to learn from her example.Īnd moving the action to an era of peak superficiality gives Jenkins and Gadot the chance to shake off the heaviness of their previous outing. She fights defensively and strategically, always protecting the innocent and offering the wicked a chance to avoid a battle. It’s gratifying that Jenkins and Gadot continue to put Diana’s compassion and decency front and centre, especially since Zack Snyder consciously chose to leave them out of the current incarnation of Superman. ![]() in costume 30 years before she’s introduced to the world in Batman V Superman: Dawn Of Justice, but that’s always a thing with prequels life finds a way. Sure, there’d be some difficulty in having Wonder Woman running around Washington D.C. After watching Patty Jenkins and Gal Gadot bring the comic-book character of Princess Diana to vivid, compassionate life in 2017’s Wonder Woman, which broke Warner’s DC movie franchise out of its grimdark torpor, I was eager to see what the duo might accomplish without a nervous studio second-guessing their choices at every turn.Īnd a movie set seven decades after its predecessor, with Gadot’s Diana battling comic-book baddies Maxwell Lord (Pedro Pascal) and the Cheetah (Kristen Wiig) in Reagan’s America, offered a fun new context for the character. I was really rooting for Wonder Woman 1984 – or WW84, as the disco/neon title treatment would have it. Available to rent on digital platforms December 25. ![]()
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