'Wonder Woman 1984' Review

Synopsis: Fast forward to the 1980s as Wonder Woman squares off against Maxwell Lord and the Cheetah.

Runtime: 151 minutes

MPAA Rating: PG-13 (for sequences of action and violence)

Who should see it? Fans of DC Comics and Wonder Woman.

Helmed by returning Wonder Woman director Patty Jenkins who co-wrote the screenplay with Geoff Johns and Dave Callaham, Diana Prince's second solo outing has shaken things up drastically. As the title suggests, Wonder Woman 1984 is set nearly seventy years after its predecessor and introduces a whole new cast of supporting characters. Lately, Hollywood seems hellbent on integrating 80s pop culture references into just about everything (i.e., Stranger Things, Ready Player One, and It, among other things). Therefore, I was a bit nervous that Wonder Woman 1984 might rely too heavily on the novelty of nostalgia. Well, I'm pleasantly surprised to report there were no popular 80s songs forced in the soundtrack, and there's even a story basis for the film's setting, so it's more than a gimmick. 

The 80s were a decade of mass consumerism, and that distinctive quality of the era ties right into Wonder Woman 1984's central message. The sequel is all about the pursuit of our greatest desires and begs the question of what we are willing to sacrifice to obtain the thing we covet most. What I found very interesting about this dilemma was how Jenkins and company forced their selfless heroine to face the consequences of making a selfish choice. This conflict offered Diana a compelling arc and served as a natural continuation of her story. It was also refreshing to see her feeling at ease in man's world after being a fish out of water in the first film. On that note, the mysterious return of Steve Trevor signifies a role reversal between the two since Trevor's not very well acquainted with the culture of the 1980s.

I was very skeptical about Chris Pine's return considering his character's state at the end of Wonder Woman. While dealing with comic book characters offers a degree of freedom to make creative decisions like this, doing so shouldn't come at the risk of undermining the dramatic weight of Steve's previous choices. However, the logic behind his sudden reappearance was held up within this fictional universe's confines and served the story. Jenkins, Johns, and Callaham totally made it work and found a unique way to incorporate it into the narrative, so consider me pleasantly surprised.

Jenkins once again delivers some exhilarating action with the backing of a great technical crew. The stunt choreographers notably found creative ways to implement Wonder Woman's Lasso of Truth in the major set pieces. Wonder Woman 1984 improves on the original with more clearly defined villains and a focused third act confrontation. That said, I found the use of slow-motion excessive at times, whereas it didn't bother me in the first film. The dialogue mixing also seemed uneven as I saw the movie in IMAX, but many of the lines still sounded very quiet. I could understand what was being said for the most part but thought the dialogue could have been amplified even more. 

I applaud the marketing department for preserving most plot details but thought the beginning of the film seemed aimless as audiences are left in the dark about the greater plot. Once things clicked together around the midway point, I understood the setup better and am curious to see what I think with repeat viewings. Two other things that stood out to me were that the film wasn't quite as visually stimulating as its predecessor and I was also initially underwhelmed by Hans Zimmer's score. This is primarily because I hold Zimmer in very high regard as one of the best film composers working today, so I hold him to a higher standard. While his Wonder Woman theme is still incredible, the remainder of his music doesn't measure up. Again, I could feel differently after settling in with it, but these are my initial thoughts. 

In many ways, Wonder Woman 1984 exceeds its predecessor while maintaining the qualities of this iteration that first endeared audiences. Front and center, Gal Gadot remains a charismatic lead and continues to embody Diana's virtuous traits. This time around, Gadot showcases much more range with an emotionally-charged arc. An advantage of bringing back Chris Pine as Steve Trevor is that the chemistry between him and Gadot carries over from the first film. Pine persists to be a likable love-interest and charming presence, bringing levity and heart aplenty to the proceedings.

Joining the cast, Kristen Wiig's Barbara Minerva makes an interesting foil to Diana. Wiig's awkward quirkiness warms your heart before her character's tragic descent seemingly squanders that goodwill. Wiig handles both extremes with poise, never falling into the trappings of a stereotype. You truly ache for her as she becomes the villainess Cheetah. 

The other prominent addition is Pedro Pascal as Maxwell Lord, an eccentric TV personality-turned-businessman. Recently, Pascal has had his face covered for much of The Mandalorian, which at times hinders that performance. However, here, he's as expressive as can be. Pascal's star power takes care of the character's magnetic presence, a front for Lord's bubbling insecurities. Though he's not wearing a physical helmet, Pascal still gets to gallivant around with a metaphorical mask. Going into Wonder Woman 1984, I had an idea of who his character might actually be that proved incorrect, so I was glad the movie kept me on my toes. Based on Ares's shortcomings in Wonder Woman, the depth and dimension of Maxwell Lord really took me off guard. Pascal makes for a compelling antagonist, who I'd consider one of the DCEU's best thus far! Here's hoping he has more opportunity to emote on The Mandalorian.

Without a doubt, my favorite characteristic of Jenkins' Wonder Woman films is how unabashedly sentimental they are. This franchise wears its heart on its gauntlets and attests to the value of love and compassion. It's fitting for Wonder Woman 1984 to release amidst a pandemic and the holiday season due to its hopeful message. Whether you see it in theaters or HBO Max when it releases on Christmas day, you're sure to enjoy the latest adventure headlined by DC's quintessential heroine. Wonder Woman 1984 just might be my new favorite entry in the DCEU. At the very least, it's neck-and-neck with its predecessor. I was already eagerly awaiting Patty Jenkins' recently announced Star Wars: Rogue Squadron, but I cannot wait to see what she does three years from now in a galaxy far, far away... 

Film Assessment: A-