MOVIE
Wonder Woman 84
Gal Gadot, Chris Pine, Kristin Wiig, Pedro Pascal
Director Patti Jenkins
Review Ray Chan
Wonder Woman 84
Gal Gadot, Chris Pine, Kristin Wiig, Pedro Pascal
Director Patti Jenkins
Review Ray Chan
This
year of living dangerously has been sparse in terms of major superheroes gracing
the big screen. Even Birds of Prey focussed
on minor league characters battling common criminals who were certainly not in
the cosmos-shaking leagues of Thanos and Darkseid.
But now, as the gruelling past 12 months close, one comic book character has emerged like a true hero to defy the odds to make it to the big screen and rescue 2020 from total misery: Wonder Woman.
Although much of the material seems over the top in its preachiness, it’s essentially lifted from the original comics that first enthralled a generation of young readers, embracing the inherent goodness, naivety and sincerity of its central hero. Also thrown in are some nuggets to excite the fanboys, such as the heroine’s invisible jet and the employment of her golden lasso as a true weapon.
In the midst of political unrest in the US and COVID-induced chaos, it’s clear that Jenkins feels even more empowered this time around to hold firm to Wonder Woman’s intrinsic spirit: that she is a bulwark of truth and honesty, whose physical strength is complemented by the warmth, love and generosity that she radiates.
Jenkins’ understanding of Diana Prince’s true power is woven firmly into the DNA of Wonder Woman 1984, shining through in its subtle revolutionary imagery and the themes that pit her against Pedro Pascal's shady Maxwell Lord.
But somehow Steve is resurrected, and it all ties in with a magical artifact that is the focus of the story. To reveal more would spoil the movie, but suffice to say it throws up a moral conundrum that is not extrapolated upon.
Nevertheless, combined with the film’s Washington DC setting, there’s a clear allegory and reference to the present day Trumpian regime, with the smarmy Lord even proclaiming “I’m not a con man… I’m a television personality”.
The movie also snares in Kristin Wiig's Barbara Minerva — a nerdish geologist who eventually transforms into the Cheetah, one of Diane’s arch-nemeses from the comics.
And wait, there’s more: just as the more restless viewers feel the film is nearing its end after more than two hours, it drags on further with image after image of Diana riding the air currents, flitting through the skies and riding lightning. Perhaps the warrior’s ascension skyward is a symbol of her pursuit of changing the world for the better, but too much is too much.
That being said, it’s apparent Jenkins recognises the power of the imagery she’s committing to the screen, exemplified by the theme of watching a young girl transformed into action hero, impressively telegraphed by a jubilant opening sequence in which a young Diana competes in an Olympic-style Amazonian contest.
Undeniably though, the heart and soul of Wonder Woman 1984 is Gal Gadot, whose grace, goodness and femininity still feels refreshing amid a crowded landscape of ripped male heroes.
WW 1984 is far from perfect. But despite some of the shortcomings mentioned, it succeeds in delivering the blockbuster thrills that 2020 has sorely missed.
But now, as the gruelling past 12 months close, one comic book character has emerged like a true hero to defy the odds to make it to the big screen and rescue 2020 from total misery: Wonder Woman.
Although much of the material seems over the top in its preachiness, it’s essentially lifted from the original comics that first enthralled a generation of young readers, embracing the inherent goodness, naivety and sincerity of its central hero. Also thrown in are some nuggets to excite the fanboys, such as the heroine’s invisible jet and the employment of her golden lasso as a true weapon.
In the midst of political unrest in the US and COVID-induced chaos, it’s clear that Jenkins feels even more empowered this time around to hold firm to Wonder Woman’s intrinsic spirit: that she is a bulwark of truth and honesty, whose physical strength is complemented by the warmth, love and generosity that she radiates.
Jenkins’ understanding of Diana Prince’s true power is woven firmly into the DNA of Wonder Woman 1984, shining through in its subtle revolutionary imagery and the themes that pit her against Pedro Pascal's shady Maxwell Lord.
But somehow Steve is resurrected, and it all ties in with a magical artifact that is the focus of the story. To reveal more would spoil the movie, but suffice to say it throws up a moral conundrum that is not extrapolated upon.
Nevertheless, combined with the film’s Washington DC setting, there’s a clear allegory and reference to the present day Trumpian regime, with the smarmy Lord even proclaiming “I’m not a con man… I’m a television personality”.
The movie also snares in Kristin Wiig's Barbara Minerva — a nerdish geologist who eventually transforms into the Cheetah, one of Diane’s arch-nemeses from the comics.
And wait, there’s more: just as the more restless viewers feel the film is nearing its end after more than two hours, it drags on further with image after image of Diana riding the air currents, flitting through the skies and riding lightning. Perhaps the warrior’s ascension skyward is a symbol of her pursuit of changing the world for the better, but too much is too much.
That being said, it’s apparent Jenkins recognises the power of the imagery she’s committing to the screen, exemplified by the theme of watching a young girl transformed into action hero, impressively telegraphed by a jubilant opening sequence in which a young Diana competes in an Olympic-style Amazonian contest.
Undeniably though, the heart and soul of Wonder Woman 1984 is Gal Gadot, whose grace, goodness and femininity still feels refreshing amid a crowded landscape of ripped male heroes.
WW 1984 is far from perfect. But despite some of the shortcomings mentioned, it succeeds in delivering the blockbuster thrills that 2020 has sorely missed.
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