Wonder Woman Screen 80 of 22 reviews

Wonder Woman

2017

Wonder Woman Poster
  • The best modern superhero film by a substantial margin, in large part because it shrugs off the supposed common wisdom that's become encrusted around the genre and dares to be straightforwardly idealistic, giving its title character strongly held values and testing them and forcing her to adjust or re-frame them without losing them—a deeper struggle that's more resonant than the physical struggles she faces in the course of the story, which are impressive in their own right.

  • The masterstroke of this origins story, ably directed by Patty Jenkins, who previously made the Aileen Wuornos film, Monster, is that it accentuates and celebrates Diana’s feminine traits. Her secret weapon is not the bullet-repelling jewellery; not her swordplay; not her ability to fire shockwaves from her wrists. It’s not even her luxuriant, swooshing hair. It is her empathy.

  • Wonder Woman's structural obligations could have gotten in the way of a a compelling, brisk, oftentimes moving first two acts, but in the final third when Diana confronts Ares and begins deliberating on the questions of war, humanity & her place as a demi-goddess within it the films virtues only deepen.

  • The film seems eager not to offend. (Who can be opposed to opposing war?) But it’s also remarkably sly, a superhero movie that raises an eyebrow at superhero movies, so bloody and brutal, so senseless and dreadful. “Wonder Woman” is smart, charming, playful, and glamorous—things not often said of superhero movies. It is also long overdue. And it has a strained relationship with the character’s origins.

  • A spectacular delight, up till the obligatory and repetitive last-act combat of the gods. Sweet and funny but with a kick to it, this movie pulls off the rare pop culture feat of hitting the dead center of the Zeitgeist, without breaking a sweat. Though it rightly shuns topical references, it makes a tiara seem as revolutionary as a pussy hat, with the message “love trumps hate.”

  • It’s nuanced, thoughtful, and even for some stretches leading up to the overlong and overfamiliar last-act battle, quiet. This is a movie about battling evil that pauses to ask what evil is and whether it’s necessary to understand its nature in order to defeat it. If that doesn’t sound pulse-pounding enough for your summer action movie needs, rest assured that Wonder Woman is also replete with back-alley fistfights, slow-motion ninja twirls, bullet-deflecting wristlets, and exploding planes.

  • Of the many things it gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 Superman, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.

  • It emerges as not only the strongest movie in the present DC cycle, but also the first one that feels like an honest-to-God entertainment rather than a raging cinematic migraine. With forthright emotion, spirited humor, a surprisingly purposeful sense of spectacle but a sincere commitment to their protagonist’s humanitarian ideals, director Patty Jenkins and her collaborators have taken the well-worn superhero origin story and invested it with a rich, sometimes revelatory depth of feeling.

  • ...It’s the kind of sequence that can give you goosebumps and provoke a few tears — Wonder Woman emerging from the trenches to save the day. She has the staunchness of someone who sees the world in neat black and white...until she’s forced to consider whether she still feels invested in a humanity capable of doing harm without the influence of a god. That god does eventually turn up, because a movie like this needs closure, even if the lesson its heroine learns is that there’s no such thing.

  • I'm afraid I found Jenkins' direction competent but unspectacular. Then again, critic Sonny Bunch recently made the convincing argument that tentpole films require stewards rather than auteurs, and in that respect Jenkins is a more than capable steward. Having said that, I think we all know that Wonder Woman lives or dies by the stone cold charisma of Gal Gadot, and she is a bona fide movie star.

  • It's a deeply sincere superhero film, but not in a self-important way. The dull pomposity of, for instance, Zack Snyder’s Man of Steel, is nowhere in evidence. This time, Snyder and the other writers could also have gone down the Deadpool or Guardians of the Galaxy route, with a world-weary, snarky protagonist. What they in fact did was a bigger risk. But as with all bigger risks, it came with a better pay off: a fresh and original vision of a decades old character.

  • Wonder Woman is never bound in the new movie; in fact the great irony, given the male backlash that preceded the release, is that it's so innocuous. Promoting the movie, director Patty Jenkins (Monster) and star Gal Gadot have described it and themselves as "feminist," and indeed the movie upholds the principles laid out more explicitly in the comics.

  • Of course, “Wonder Woman” is a superhero movie, and it fulfills the heroic and mythic demands of that genre, but it’s also an entry in the genre of wisdom literature that shares hard-won insights and long-pondered paradoxes of the past with a sincere intimacy. That tone of modest and restrained clarity is, above all, what distinguishes “Wonder Woman” from the run of thudding, drubbing, thrashing action scenes in other, male-centered superhero movies.

  • When Wonder Woman becomes a big, bad superhero movie, it necessarily gets boring, not least because the villain is a wash. Diana’s belief in Ares — as a force, as a symbol of evil — is far more interesting than the actual guy, er, god. No Ares can live up to the idea of Ares. But thanks to Gadot, Diana lives up to the idea of Diana. She’s Wonder Woman. And if the movie isn’t always wonderful, it’s valuable as a tribute to her.

  • The first half of Jenkins’ picture has a quietly pleasurable power, largely because at that point it seems to be trying to bust the expected template. But when the epic battles start raging—so…many…epic…battles—we’re back to business as usual... Even so, Wonder Woman is a cut above nearly all the superhero movies that have been trotted out over the past few summers. That’s largely thanks to the charm of its star, Gal Gadot

  • Jenkins’s Wonder Woman is not free of the fudges that have plagued DC’s recent films – it’s overlong, weak in the villain department... In the plus column, it is comfortable with Gadot’s superheroine... After Man of Steel (2013) and Batman v Superman, it’s a relief to have a DC superhero movie that actually seems to like its lead character and considers her someone worth believing in.

  • It may be damning with faint praise to point out that it’s the best entry in the DC Extended Universe to date, but it’s worth noting that it achieves this status by largely shunning the unremitting grimness and portentous bombast of previous entries in the franchise. As the first studio film centered on a female superhero in over a decade and the first directed by a woman, Wonder Woman carries a significant weight on its shoulders, but its greatest asset is a willingness to go light.

  • A little bit of inquiring innocence can go a long way... Off the bat, let us assuage your fears: yes, this is a comic movie ripped directly from the DC universe (eww!); but don’t worry, this time you can actually see the images clearly and hear the dialogue being spoken. Gone are the mumbly, lantern-jawed alpha males cursing the moon like they’re in a Meatloaf video and using sky scrapers as jousting lances. In their place is simple, coherent storytelling and characters you actually care about.

  • If a verdict is what you’re looking for, I can say with certainty that it's totally fine... It’s the sort of adventure high on slo-mo fights and fleshed out by stock characters who shout exposition they couldn’t possibly know so that the audience doesn’t fall behind. It doesn’t really try for any surprising turns until late in the game. And if the idea of an explicitly anti-war action flick that racks up a bloodless bodycount of anonymous henchmen sounds contradictory to you, you’re right.

  • Gadot has real presence and charm as an actress—one longs to see her in something worthier of her talent. But the imperative to eradicate any hint of bossiness or anger from her character weighs heavily on the film, threatening to turn it into one long, dispiriting exercise in allaying male fears about powerful women.

  • There are moments in Wonder Woman (the screenplay for which is credited to Allan Heinberg, who’s written comics for both Marvel and DC) that even Shulamith Firestone might have approved of... But when the separatist compound must accommodate an interloper — Steve Trevor, fished out of the sea by Diana after his plane goes down — any hopes that Wonder Woman will sustain its appealing misandry are soon dashed.

  • As happy as I am to see a woman director behind a major action film, come on, Wonder Woman! A warrior genius with a child’s brain in a sex goddess body? Can’t we just have one complex female character leading an action movie? Didn’t one woman read that script and say, “Hey, this is an offensively overused male fantasy …”?

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