In one of the scenes, Wonder Woman / Diana Prince (Gal Gadot) is swinging by hooking the beam onto a rocket. That alone is already a riveting moment, but what makes it special is, Wonder Woman bothering to do it not just to defeat the enemy, but to save two small children who are on the way. Director Patty Jenkins cited Superman (1978) as his inspiration when working on Wonder Woman (2017), and the influence of Richard Donner’s work was even more apparent in Wonder Woman 1984. An escapism, a superhero film full of magic, heart, and hope. Top Movie Site
In the midst of the pandemic, many thought that Christopher Nolan would save the film industry, including the survival of cinemas, through Tenet. The prediction missed. But it is possible that Wonder Woman 1984 is the savior to look forward to. The audience is in need of hope. Instead of the brain, the liver needs more food. The film has answered that need right from the start, when cinematographer Matthew Jensen swept the camera over the expanse of Themyscira, accompanied by Hans Zimmer’s music, which, although still epic, this time emphasizes magical nuances instead of boom. What a wonderful start, especially considering how many of us yearn for the freedom to be outside.
From there, we are invited to watch an athletic tournament, in which little Diana participated, against adult Amazonian soldiers. Lilly Aspel continued her role in the first film as little Diana, and what a gift this kid is. You will believe that one day he grows up to become one of the strongest superheroes in the DC universe. This opening has two functions. First, to provide a background for Diana as a figure who always holds on to the truth, and second, to plant seeds about Asteria, the owner of the golden armor that Diana will wear at the top of the film. Don’t miss the mid-credits scene that reveals who the cast of Asteria is. If you don’t know her, she’s a legend, one of the figures most credited with elevating Wonder Woman in world popular culture.
Jumping to 1984, adult Diana has lived in society and worked as an anthropologist at The Smithsonian, even though the grief of Steve Trevor (Chris Pine) ‘s death made her always immerse herself in solitude. At The Smithsonian, there was Diana’s meeting with a scientist named Barbara (Kristen Wiig), who idolized all the perfection of the World. Since the SNL era, Wiig has been a master at bringing out awkward characters that are easy on viewers to like, and Barbara is no exception. Even after transforming into Cheetah, I still sympathized with her. Barbara is not a power-hungry villain who wants to rule the world. He just wanted to feel his love in return.
But Cheetah isn’t Wonder Woman’s only enemy here. The biggest threat actually comes from a mysterious artifact that is said to be able to grant all requests. The artifact brings Diana into confrontation with Maxwell Lord (Pedro Pascal), the oil businessman and television star. The existence of more than one antagonist automatically multiplies the storytelling of the film, and Patty Jenkins, Geoff Johns, and David Callaham, who wrote the script, are able to put it together neatly. Best Movie
They even use these branches to create a massive series of stories with a duration of 151 minutes, which take the characters on an adventure to various locations, including Egypt. The stakes are high in this movie. Many superhero films feature threats on a global scale, but few are able to make the audience feel how big the threat is (especially if it’s not a team-up film) like Wonder Woman 1984. Although it must be admitted, at many points when the action is absent, this film often confused, due to the lack of writing interesting dialogues, as well as a stagnant story.
The massive impression above was also created by the series of actions. The first film did have “No Man’s Land” scenes, but the rest weren’t that special, especially the mediocre climax that was CGI oriented. Jenkis made up for all those flaws. The foundation is creativity in the realm of concepts. As one of DC’s holy trinity, it is illegal to involve Wonder Woman in a moderate fight. Together with Johns and Callaham, Jenkins makes use of Diana’s magical objects, which the audience outside of the comic book may not yet know about.
If Batman has a batarang, then Wonder Woman can throw a tiara to knock out enemies. Apart from being used to ensnare and force the other person to speak to be honest, Lasso of Truth can make Wonder Woman swing in the sky. Like Spider-Man? Wait a minute. Could Peter Parker’s net trap a striking lightning? Assisted by Matthew Jensen’s arrangement that made the camera move dynamically to follow Wonder Woman’s agility, Jenkins made each shot look big, massive, epic.
At this point, I think it’s just some stupid, spiteful, or accomplished haters who are questioning Gal Gadot’s selection as Wonder Woman. If in the first film he was tough but naive, here Gal Gadot gives us the figure of an experienced hero, who looks convincing when doing acrobatics, floating in the air, or pushing an armored car as a shield while running at lightning speed.
But as mentioned earlier, Wonder Woman 1984 is not just a bombastic treat. This film has a heart that is no less big. You may remember a shot in the trailer, where Diana and Steve are on the plane, while outside, fireworks decorate the night sky. One thing that was not clearly disclosed in the trailer (comic readers would have guessed it), they were both in an unseen plane. For me the most romantic moment is here. Under the colors of the fireworks, Diana and Steve were hidden from the outside world, as if space and time belonged to them alone.
And nothing is more perfect from the message of this film’s heroism than its climax. In other blockbusters, the climax might feel disappointing. Anti climax. But not in Wonder Woman 1984, a film that says that actually, the heroine is not Diana, but all of humanity. Everyone can save the world in their own way. What a valuable message in today’s world. Movie Review