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Perhaps the most remarkable thing about Wonder Woman is how, well, unremarkable it is. After all the stops and starts and frustrations of trying to get a Wonder Woman movie made—a whole, vast system stymied by the idea of one measly female superhero starring in her own movie—Patty Jenkins‘s film is finally upon us. And, well, it turns out it’s just another superhero movie. A good superhero movie, sturdily built and solidly entertaining. But yeah, it’s yet another origin story for one of the comic-book world’s most iconic characters, a formula we’ve seen repeated many times over the past 10 years. Wonder Woman is nothing less and, for the most part, little more than that.
Well, Wonder Woman is “more” in that it’s easily the strongest film DC and Warner Bros. have made since they left Christopher Nolan’s Dark Knight world behind and reimagined Batman and Superman’s exploits as turgid, fascistic operas of destruction. Man of Steel and Batman v Superman: Dawn of Justice—both directed by Zack Snyder, who gets a story credit on Wonder Woman and whose visual stamp is all over the movie—are deeply imperfect films that nonetheless have moments of flickering inspiration. They’re big, overwrought duds, but they’re not outright catastrophes. The most recent DC movie, though, was Suicide Squad, a wretched, hideous, and curiously halfhearted act of aggression that leaves a really nasty stain on the whole series. So, compared to that, Wonder Woman feels like a revelation, a bright and engaging dream delivering us from a nightmare soup of toxic masculinity.
The new Wonder Woman film has most of what Wonder Woman fans would expect from a cinematic adaptation of her comics. There’s Paradise Island, the distant utopia where women warriors live and fight together, sans men. There’s the magic golden lasso which compels people to tell the truth. There are the magical bracelets that deflect bullets (and the occasional World War I shell, since the film is set in that era). Steve Trevor, brave airman in need of rescue? Yep. Etta Candy, jovial sidekick? She’s there. Improbable CGI superfeats? Of course.
Fans of the classic comics may miss a few iconic bits of the Wonder Woman mythos, though. Wonder Woman has some funny repartee, falling in line with other Marvel Cinematic Universe films: at one point, Gal Gadot as Wonder Woman archly explains to Steve Trevor (Chris Pine) that men are necessary for biological reproduction, but not for pleasure. But while there are jokes, the comics’ more whimsical elements have been shelved. There’s no invisible plane. (At least not as far as audiences can tell.). And the Amazons in the film ride normal, everyday horses, rather than giant battle kangaroos.
Battle kangaroos haven’t been part of the Wonder Woman mythos for some 65 years. But in the original 1940s comics, written by William Marston and drawn with elegant stiffness by Harry G. Peter, kangas were one of the most visually distinctive — not to mention gloriously silly — aspects of life on Paradise Island. Amazons rode kangas in their Paradise Island military contests, and they even had special giant sky kangas that could take them to other planets.
Wonder Woman, 2017.
Directed by Patty Jenkins.
Starring Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, David Thewlis, Danny Huston, Elena Anaya, Ewan Bremner, Lucy Davis, Eugene Brave Rock, Emily Carey, Lilly Aspell, and Saïd Taghmaoui.
Before she was Wonder Woman she was Diana, princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.
Gal Gadot impressed in her first, albeit brief, appearance as Diana of Themyscira in last year’s Batman v Superman: Dawn of Justice. Now armed with her whole solo film, Gadot turns up the ante, allowing herself and viewers to really dive deep into the character. She steals the show, conveying Diana’s young naivety and her journey to full-fledged superhero with ease. She really owns the role and delivers many of Diana’s core characteristics: her charisma, compassion, youth and strength. If it already wasn’t clear before, Wonder Woman is not to be trifled with and Gadot makes that abundantly clear.
Chris Pine makes for a compelling second lead as Steve Trevor, an American spy trying to prevent further deaths in war-torn Europe. He’s charismatic and plays the role with some of his usual swagger, yet downplays it to a degree. His chemistry with Gadot also propels the film. They play off each other naturally, making it easy to see how these two very different characters connect with each other. The banter between them is good as well, with most of it feeling organic, though some bits of humour with Diana and Steve, such as whether or not he represents “the average man”, feel a bit forced.