'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-

'Professor Marston and the Wonder Women' Review

[This review was originally written in October 2017 and is now being published that my internship is over. For an explanation of this, visit my Fall 2017 Important Update post.] 

Professor Marston and the Wonder Women tells the true story of the coupled psychologists William Moulton Marston and Elizabeth Marston as they become involved in an unconventional romance with their instructional assistant Olive Byrne. The film then tells how the polygamous relationship inspired the creation of the one of the most iconic female comic book characters ever created, Wonder Woman, and the forgotten controversies surrounding her existence.

Wonder Woman had a big year in 2017 as it marked her 76th anniversary and the release of her first feature film that blew the lid off the box office and garnered nearly unanimous praise from critics, Wonder Woman. It seems like the release of a film outlining the story behind her inception couldn't have possibly come at a better time. I'll admit the scoop on Wonder Woman's creation was the drastic draw for myself, as I'm sure it will be for most people who watch the film, but viewers approaching Professor Marston and the Wonder Women should be cautious of the fact that the film is more about the circumstance surrounding the creator than the creation of the comic itself.

Written and directed by Angela Robinson, Professor Marston and the Wonder Women centers on an unordinary romance, but refuses to treat it as such. I think that for the purposes of this film, it makes sense for Robinson to avoid ostracizing the trio because the character's predicament is normal from their own point-of-view. While this sort of relationship would still be deemed peculiar today, it was firmly frowned upon then. Despite not agreeing with the concept of polygamy myself, I can't deny that the film's exploration of it was fascinating.

Luke Evans, Rebecca Hall, and Bella Heathcote each are able authenticate the idea three different people could love each other equally. You buy into their love because they do too. While Evans' portrayal of William Moulton Marston is quite charming, Heathcote and Hall are the ones who run away with the movie. Heathcote imbues Olive with both shyness and strength so that it's understandable how multiple people could be easily infatuated with her. Hall, on the other hand, is afforded an opportunity to express some exceptional acting chops as Elizabeth, and she delivers.

One thing that can't be ignored anytime a film's "based on a true story" is just how accurate the adaptation is contrasted to the real events. Usually it's difficult to tell, but it's always a fair assumption that certain moments were dramatized for the purposes of invigorating the story. Well, it turns out that's the case here as Professor Marston and the Wonder Women's accuracy has fallen under question by William Marston's granddaughter and other family members. Apparently, the family wasn't consulted in the making of the film, a conscious choice on Robinson's behalf so she could explore the story through her own eyes. That decision just seems incredibly odd to me, because you think there'd be a lot of insight to gain from involving the family along the way. Plus, it'd spare you the trouble of hearing any of the family member's outcries against the film later on.

Professor Marston and the Wonder Women works well for what it is (even if that means it's a conventional bio-pic), but the film isn't quite as bulletproof as Wonder Woman's bracelets. The first two acts steam full speed ahead with the romance angle, but everything derails in the uneven third act. Once the film gets to the comic book's origin, the pacing gets all out of whack as some segments feel rushed and others are unnecessarily drawn out. The runtime itself is approximately an hour and forty-eight minutes, but it admittedly felt much longer than that because of superfluous material. One other thing that bothered me was how the actors didn't appear to age at all in the twelve years presented by the film. I understand aging makeup is tricky and all, but it's like as if no one even bothered. 

Professor Marston and the Wonder Women is certainly an interesting watch, in-spite of its unsure accuracy, but my greatest takeaway from Professor Marston and the Wonder Women was the realization that Wonder Woman has long since evolved past Marston's conceived notions to become a more fitting feminist icon for today. 

Film Assessment: B-

'Wonder Woman' Review

Wonder Woman recounts the origin story of trained warrior and courageous princess Diana who has grown up among the fierce female race of Amazons on the sheltered tropical island Themyscira. All is well on the secluded paradise till American intelligence officer Steve Trevor crashes off the island's shore, the first instance of man entering the mythic realm. Trevor is retrieved by the Amazons and in turn tells them of the ongoing power struggle outside their island, World War I. Diana then decides to disobey her mother's commands and accompanies Trevor on a quest into man's world with intentions to end the conflict at hand, discovering her exceptional abilities and fated destiny along the way.

I'll be honest in saying I was cautiously optimistic for Wonder Woman since I was burned thrice before by DC with Man Of Steel, Batman v Superman: Dawn of Justice, and Suicide Squad. While Wonder Woman's marketing material has been stellar from the outset of its promotion, much like Suicide Squad, the DC Extended Universe's spotty track record was enough for me to temper my expectations. I did however maintain hope that Wonder Woman would be the film to turn everything around for DC considering Patty Jenkins was directing and it seemed more standalone in nature, and it is with great pleasure that I'm able to reassure any skeptics that Wonder Woman is truly wonderful! 

Director Patty Jenkins shepherds the Amazon into her own corner of the DC universe so the two can brief moviegoers on the influential heroine's humble beginnings. Jenkins had a difficult task at hand in meeting a broad appeal that didn't favor men or women and she struck the right chord. The supporting male characters are never downplayed in favor of some feminist agenda and there are moments exemplifying Wonder Woman's heroic qualities that offers an ideal representation of female empowerment without overdoing the girl power. Jenkins makes it clear from the start that this will be a tale for everyone to enjoy by infusing Wonder Woman with a sense of hope and optimism, something that's lately been lacking from DC films. 

Jenkins and her cinematographer Matthew Jensen quickly break the mold of DC's gritty/grungy aesthetic with the lush locale of Themyscira. The vivacious color palette of Themyscira is easily the most vivid venue to be seen in the DCEU thus far, managing to look like a plausible place while maintaining a guise of mysticism. This is even further accentuated when contrasted to the nasty No-Man's land and murky London skyline. The visual effects and production design showcased also are a step above DC's usual display, making a breathtaking backdrop to the insane action.

If you thought that Wonder Woman would skimp out in the action department because it was directed by a woman, then you were way off because the action sequences constructed by Jenkins and her stunt team are absolutely incredible! Scenes of the Amazons sparring, a beachside invasion, a trek through No-Man's Land, and an all-out melee in the third act will all astound viewers based on looks alone. It's worth noting that Jenkins and editor Martin Walsh utilize quite a bit of slo/fast-mo in these sequences that can grow a bit repetitive for those not in favor of that technique, but it adds a visceral energy that only intensifies the excitement. This vitality is then dialed up another notch by Rupert Gregson-Williams' potent compositions and Hans Zimmer's pre-existing exuberant Wonder Woman theme. 

Despite Wonder Woman's ability to leaps bounds above the other DCEU installments, I'm fairly certain that Wonder Woman will draw criticism from its startling similarities to the period piece war backdrop featured in Captain America: The First Avenger and the fish-out-of water story told in Thor. There will be numerous comparisons between them (especially with The First Avenger), but I assure you Wonder Woman is very unique when it's all said and done.

Wonder Woman features a screenplay penned by Allan Heinberg, who received some assistance from Zack Snyder and Jason Fuchs in writing the story treatment. Heinberg's script works well and it's not because it revolutionizes the superhero origin story, but rather because it understands the lead character. Diana's easily the most heroic DC character to galavant onscreen in quite some time and pairing Diana opposite the horrific scrim of World War I really brought out her valiant nature. It's also incredibly refreshing to see a female character in a superhero movie that's not a damsel or obvious eye candy, but a fully realized character. While Marvel has Black Widow and Scarlet Witch, DC had yet to truly deliver one of those till now.

Allowing Diana to enter man's world not only accentuates her character but it provides a suitable opportunity for humor thanks to the fish-out-of-water element and I laughed at nearly every joke the writers threw at me. The romantic relationship between Steve Trevor and Diana felt fully fleshed out and strayed away from feeling unbalanced, which was something I feared. Steve probably saves Diana as many times as she rescues him so while Diana's clearly more capable than Steve thanks to her power-set, she learns a thing or two from him on her expedition.

Wonder Woman does admittedly run into a little trouble in its third act with a chaotic, needlessly elaborate final fight. The film's villains also feel slightly underdeveloped with vague motivations, which weren't exactly convincing to begin with. The third act CG isn't the greatest when compared to the remainder of the flick, but it worked for everything Jenkins was striving to achieve. Outside of those minuscule nitpicks, Wonder Woman doesn't encounter too many other issues and easily outweighs those cons.

The cast assembled for the Amazonian's first feature film is one to behold and they step up to the legacy the comics set before them. When Gal Gadot was first cast as Wonder Woman, fans were quite contentious about whether she was the right choice for the role considering she was almost entirely known for modeling at the time. Even after a scene-stealing appearance in Batman v Superman, no one really quite had a grasp of the character since her powers and characterization were left a mystery. Thankfully, Gadot walks a fine line as Wonder Woman and proved up to the task of meeting the physical demands of the role as well. Gal Gadot imbues Diana with compassion, strength, and virtue making her the ideal female role-model and exemplary incarnation of the female icon.

Chris Pine brings charisma aplenty to Steve Trevor as an endearing action hero and likable love interest opposite Gadot. Pine and Gadot exhibit an interesting and sincere dynamic, unlike most comic book couples as the two share an undeniably unique chemistry. Lucy Davis also tags along as sociable supporting player Etta Candy, showcasing some solid comedic chops along the way.

Connie Nielsen and Robin Wright play the predominant Amazonians as the lionhearted General Antiope and confident Queen Hippolyta. Both actresses serve as influential up-bringers and memorable maternal figures for Diana, demonstrating courage and kindness in the best ways imaginable.

Ewen Bremner's anxious sniper Charlie, Saïd Taghmaoui's ladies man Sameer, and Eugene Brave Rock's soft-spoken Chief each added delightful personas to Trevor's squad and stood out as captivating supporting players among the larger ensemble. Elsewhere Danny Huston, Elena Anaya, and David Thewlis adequately act the archetypes of the hardened General Erich Ludendorff, tortured Doctor Poison, and inscrutable Sir Patrick. In regards to references, there aren't too many easter eggs that I noticed aside from the obvious origin story beats and there's no post credits scene, but do look forward to a new DC logo opening up the proceedings. There's absolutely no question about it, you should definitely check out Wonder Woman this weekend! I know I'll be seeing it a few more times!

Turns out Wonder Woman had more in her arsenal than I suspected with dedicated direction, vibrant visuals, astonishing action, powerful performances, and charming characters. She didn't even need to use her Lasso of Truth to coerce me into acclaiming Wonder Woman as the greatest DCEU entry to date, the foremost female lead comic-book movie, and the best DC film I've seen since The Dark Knight! 

Film Assessment: A-