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There is nothing an audience likes better than the sight of a woman with a sword. A long, long overdue movie, given our taste for superheroics, Wonder Woman deserves to be a hit. All the things that go right here overwhelm the couple of things that don't. Read More

I like the portrayal of the Greek/Amazonian myth; the part where Chris Pine is naked; the part where Wonder Woman overturns the tank; and the post-battle dance scene with her and Steve Trevor, and that's it.

This could be mistaken for a mediocre, melodramatic, cheesy TV movie. Visually, it's less interesting than any of the other nu-DC fare; I never thought I'd miss Zach Snyder's sensibility but I did in this flick. Storywise, it may be a step up from the rest of the DCEU, but it still barely rivals the worst of the Marvel movies. Gal Gadot can't act, and Chris Pine couldn't make the clunky dialogue sound not ridiculous.

Wonder Woman is tolerable. That's more than can be said for the other nu-DC movies but it's not a compliment.

**The First Great DCEU Film**

This film is the origin story of Diana Prince/Wonder Woman (Gal Gadot), who was first introduced in Batman v. Superman last year. She is born and trained on Themyscira, the hidden island where the powerful warrior women known as the Amazons live. One day, Steve Trevor (Chris Pine), an American World War I spy, crashes off the coast of Themyscira and is rescued by Diana and the two team up to take down Ares, the God of War, and the Germans, who are developing a very deadly form of mustard gas. There are fantastic action sequences in this film, especially by Gal Gadot. It's amazing to see her single-handedly storm the German front, inspiring the Allies to fight with her. Gadot takes over from the legendary Linda Carter and makes the role her own. She has great chemistry with Pine. They are complete equals in this film. It's refreshing to see the female lead in a superhero film not be the love interest. The only negative part of the film are the lackluster villains. Hopefully, Wonder Woman will have more formidable foes in future films.

**DC Hits A...Bunt. But compared to the strikeouts, a bunt seems impressive.**

Wonder Woman had some things working for it--things other comic book movies have faltered on. But it had a lot of things not working for it too. The result is an average median between what works and what doesn't. While the film is spectacular within the struggling DCEU, as a stand alone film it's mediocre at best.

Diana's origin story--how she came to be and how she came to be a super hero was refreshing. It showcased the world of the Amazon warriors. It was unique in the often cookie-cutter super hero origin stories. Patty Jenkins did a good job of framing it, but I think the character's origin story dating back to the comics has always been unique in comparison to other super heroes.

The result is that the first third or so of the movie is satisfying--despite dull performances from Gal Gadot and Chris Pine (who had zero chemistry as a couple). But once we leave the confines of the island and enter the real world, the movie becomes hit or miss. WWI (that's right, WWI now, not WWII. The reason for the change in setting is never apparent) London is portrayed in a way that is almost a distraction. Yes, the world isn't white washed; diversity is a thing--a wonderful thing at that. But DC's version of Captain America's Howling Commandos consist of an Arab and an American Indian. Diversity for diversity's sake becomes distracting--especially when paired with a low-rent Simon Pegg whose soul function is being a deadly sniper who never fires his weapon (that's helpful on a top-secret mission behind enemy lines).

It's almost as if the movie telegraphs all of these unnecessary plot hiccups to remind you that this is a super hero film, and no matter how much the mortal humans fail, it will all be okay because the super hero will save the day.

The dialogue can be clichᅢᄅd at times, and the final theme of the movie--one of love conquering all and the acknowledgement that, overall, mankind is good, is laughable in it's amateur preachiness.

But what the film lacks in substance and script, it makes up for in the visuals. I found the action sequences to be great fun. Heavily stylized "Matrix-style" fight scenes seem right at home in a film about super hero Gods. The freeze frames worked too--as fight sequences froze in over-the-top super hero poses that harkened back to the source material's comic book roots.

The final confrontation between Wonder Woman and Ares--while dragging on a little long--was well done, being one of the few super hero movie climaxes that delivered.

While aspects of the movie were so similar (Hell! Identical!) to Captain America: The First Avenger, I actually felt embarrassed for the filmmakers, I did come away thinking this was the movie Captain America should have been. It succeeded in places where Captain America failed miserably.

The movie is entertainment--pure, fun, pop-corn-gobbling entertainment. In that realm, it succeeds and succeeds well. But as a piece of cinematic art, it falls flat on its face with too many plot holes, script inconsistencies, clichᅢᄅs and mediocre acting. Wonder Woman will be an important movie for both the DCEU and the summer of 2017. But it lacks the magic and staying power of Nolan and Donner's contributions to DC comics' films.

I'd just like to thank Patty Jenkins for making a DCIThoughtSheWasWithUniverse movie that wasn't fucking garbage.

If I'm being completely honest, the two people I went to the cinema to watch _Wonder Woman_ with and I did spend the next two hours after coming out of our screening discussing the various problems with the movie, but we also all agreed on one thing: We still loved it.

Maybe it's just the rose-coloured glasses of comparison, but I had an excellent time with _Wonder Woman_, and I'm excited to go back to the cinema and watch it, at least one more time.

It's the first time I've said that about a DC movie since _The Dark Knight Rises_.

_Final rating:¬リナ¬リナ¬リナᅡᄑ - I strongly recommend you make the time._

There is nothing an audience likes better than the sight of a woman with a sword. A long, long overdue movie, given our taste for superheroics, Wonder Woman deserves to be a hit. All the things that go right here overwhelm the couple of things that don't.
The sexually bohemian psychologist William Moulton Marston's comic book character emerged in 1941, rising in popularity as women took over previously male-held roles during WWII. His modern-day Amazon was derived from numerous legends of women warriors talked about throughout the ancient world. Female Spartans must have been a fearful idea to the ancients, given how women were kept in purdah in Greece and elsewhere.
But the inspired script, credited to Allan Heinberg, has the seemingly immortal Diana, Princess of Themyscra (Gal Gadot) arriving among men in WWI. The 1914-18 war isn't just a theme park background, with No Man's Land as the right place for this woman. Wonder Woman's plot mirrors the real-life experience of the soldiers. The combatants shipped in with the highest idealism about slaying War itself: thus "The War to end all Wars." Through bitter experience in the trenches, the soldiers realized it was just one more war, the worst yet and perhaps an endless one. Thus, the Thucydides tag murmured by the Kaiser's General Erich Ludendorff (Danny Huston, fragrantly evil): "Peace is an armistice in a war that is continuously going on." The real-life Ludendorff quit the war in its last October; in this fictional version, with the Armistice just days away, the German has a secret plan to strike and win.
Many a child's first sight of WWI in the history books was unforgettable: the terrifying rubber gas masks, with goggle eyes and blunt protruding snouts. Director Patty Jenkins (Monster) returns to these images--one mask cracking and melting in the laboratory of the disfigured scientist known as "Dr. Poison" (Elena Anaya, as malignly attractive as Gale Sondergaard was decades ago). Voice rasping from some terrible mustard gas accident, she wears a historically authentic prosthetic along her jaw.
In Captain Ahab's term, Diana wants to strike through these and all masks: she's coming, sword in hand, for man's ancient enemy Ares, the God of War. The innocence of this mission bemuses the military spy Steve Trevor--Chris Pine, a good man in a reaction shot as he watches Diana gets to know her own Olympian strength. The romance with Steve perplexes Diana from her first Miranda moment of sizing up the first man she's ever seen, but it's physical too--it includes some witty double-entendre business about a wristwatch.
Jenkins has a feeling for Greek myth come to life. Diana is awe-inspiring in leaping freeze-frame, and the film stages ancient-time flashbacks to look like animated neo-classical paintings. In closeups, Gadot deals out the kind of heart-punch unfelt since professional wrestler Ox Baker retired. She obviously believes in the role: there's no irony in it. Maybe that's helped by the fact that no one has to address her as Wonder Woman.
It's useless to disguises this noteworthy beauty with a pair of glasses and a frumpy ankle-length dress. Everyone's favorite infiltration scene-- the secret attendee at a villain's conference knocking out a sucker and stealing their outfit--is done in admirable shorthand. Diana thoughtfully measures a woman up to check out her size, before we cut away. And there is a fairy tale quality when the stolen blue gown is shed later, floating in the air behind Diana as she escapes on horseback.
The last third is sometimes CG cartoon default for the genre; if a villain never again asks the hero, "Is that all you've got?" that'd be nice. But this was worth every year of the time it took to get here, through decades of cringe-inducing development--the Internet is littered with the false starts, do read and be disgusted. And why the pathetic display of hurt feelings by fanboys when Austin's Alamo Drafthouse tried to have an all-female screening of Wonder Woman? It all only proves that the idea of a great woman warrior is just as threatening now as it was to Herodotus.

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