It works as a throwback
With an origins story, Wonder Woman finally rights the direction of DC’s Extended Universe, justifies her introduction in last year’s Superman V Batman: Dawn of Justice and properly sets the stage for this November’s Justice League. While far from being a perfect film, Wonder Woman surprisingly works by being a throwback in terms of approach, attack and treatment. The vintage Christopher Reeve Superman films are what I was most reminded of during the first three quarters of the film. By being earnest, so nobly motivated, downright enthusiastic and naively sincere, this Wonder Woman (Gal Gadot as Diana) is a breath of fresh air. Ever since Christopher Nolan’s first Batman, we’ve been subjected to angst-driven, highly conflicted superheroes; so by going retro, this Diana is hands-down enjoyable.
Patty Jenkins, who directed Monster (the film Charlize Theron won her Oscar for), is at the helm of Wonder Woman and it’s a wise choice; plus, it’s the first time a woman director has been given a DC superhero film. With little jabs at feminism, and with the romance between Diana and Steve Trevor (Chris Pine) at the heart of the film, it pays dividends to have a woman director with the sure hand of Jenkins. When Steve’s plane crashes in the sea of Themyscira — the secluded, idyllic island the Amazons call home — being rescued by woman warrior Diana brings the real world and history (World War I is raging in Europe) into harsh contact with the fantasy elements of the film.
The first section of the film, set in Themyscira is the most inspired aspect of the film, reminiscent of the Superman films when the action is set on Krypton. And if we reveled in the Clark Kent/Lois Lane onscreen chemistry, the chemistry of Gadot and Pine is just as palpable. Providing much of the narrative thrust, Pine turns in a great performance as Steve, giving us the right blend of seasoned cynic and bedazzled, smitten lover. And as the film’s central character, Gadot gives us unabashed sincerity coupled with defiant belief in the nobility of her actions.
I mentioned “far from perfect” and that would refer to the CGI-inundated last 25 minutes of the film, rendering the last battle anticlimactic. There is no truly inspired villain here; General Ludendorff (Danny Huston) is a cheap caricature, while Dr. Poison (Elena Anaya) is never fully developed. And without being a spoiler, when we finally get the reveal of Ares, we have good acting but a lackluster super villain. These facets of the film, along with the over long-running time are what I felt dragged the film a few notches down.
But thankfully, these are minor points and kudos to Jenkins, her storywriters and cast for making earnest eminently watchable. Thanks to the film, it won’t just be Batman (and Superman) fans eagerly anticipating Justice League.