Wonder Woman 1984

So a trip to Busselton (pre-lockdown 2) coincided nicely with $10 tickets at Orana Cinema for a screening of Wonder Woman 1984. Incidentally, why choose the year 1984? Is it simply that people may have an inkling of Orwell's novel? I couldn't find any other reason, aside from it allowed the writers to position the story just after the 'Star Wars' strategic defense initiative was set up, as well as having a Reagan-esque goose as President. If that's their reasoning, then it's no surprise that many things in the film require the audience to be in a pretty accepting mood.

But let's begin with the positives. Gal Gadot as WW is great; she's clearly a good fit for the role and her acting stock has risen a touch in this - in her key scene with Chris Pine she displayed an unexpected emotional range. Pine is always a safe pair of hands in this kind of role - more boisterous than Evans, more serious than Hemsworth but less goofy than Pratt. Kristen Wiig and Pedro Pascal are quite unusual choices for the semi-villainous roles, but they bring wit and a slightly unhinged quality to their parts. Another tick is the rationing of WW, as opposed to Diana Prince. After a perfunctory reminder sequence (just after a flashback), which played like something from a Pound Stretcher version of The Incredibles, we don't get to see her suited up again until near the half way mark. A bit like the shark in Jaws, they keep us waiting. 

Now, I didn't hate this film but here are some issues that gnawed away a bit. These WW films, and maybe DC films in general, have a real problem with endings. The tension that they presumably strive for just isn't there and so the climax is rendered flat and drawn out. And the faffing about after the climactic peak is weak (not to mention the naff mid-credit sting). Ultimately, the whole conceit of truth being the ideal aim of humanity feels a bit like a Trumpian swipe, certainly well-meaning but a little hard to swallow. The idea that everyone who makes a wish would then renounce it for the good of society and the world also seems a complete pipe dream.

Aspects of the film are very reminiscent of other, better comic book films. The characters of Max Lord (Pascal) and Barbara Minerva (Wiig) are supposed losers who just want success or acceptance - echoes of Iron Man 3. The return of Steve Trevor (Pine) from a bygone war-era reeks of Captain America. And the nuclear countdown contrivance feels like the end of X-Men: First Class. There are probably more that I missed. Another slight issue is that the film prescribes limits to Diana's independence. Let's assume there's nobody on earth at this moment who can equal her powers. Bruce Wayne hasn't been born, or is a kid, Superman hasn't arrived yet, I don't exactly know who else is lurking in the DC universe. And she's basically immortal. Yet the filmmakers have still given Trevor a few moments to act the hero, saving her from physical attacks. Her waning powers may give them an excuse in this regard but the fact that Pine gets to play the emotional hero, consoling Diana, making her 'understand' or 'realise' the sacrifice she must make, was pure shite for me. So fucking noble. I'd actually have preferred the film to allow WW to have her Pine and eat it, but that would have meant a total re-imagining of our righteous hero.

In saying all this, I think it's slightly better than the 2017 original, even though it's flabby and often misses it's steps. Much of the film is over-explained ('Use the wind'), while other things are brushed over - why did Trevor need to inhabit another dude's body? Why did Lord change his mind so quickly at the finale? How does Diana carry that heavy looking costume with her? Ok, that last one could likely be answered with "It's a super hero film". An interesting final note - Wonder Woman 1984 was simultaneously released in selected cinemas around the world and made available to stream on HBO Max in the US and Canada. So far, it has grossed around US$150 million (the original made US$818 million) but as streamers don't publicise their figures, it's hard to say how it has done there. 

See also:

Obviously, season 4 episode 8 of Game of Thrones (The Mountain and the Viper) (2014) for Pedro Pascal at his best. And for another strong female comic book hero, try Rachel Talalay's Tank Girl (1995).

SPOILERS IN PODCAST (NOT THAT IT MATTERS MUCH...)

Listen to "Wonder Woman 1984" on Spreaker.