Why Wonder Woman 1984 is a disaster on every level

After the success of the first opus released in 2017 ($ 817 million in box office revenue and 93% positive reviews on review aggregator Rotten Tomatoes), Patty Jenkins and Gal Gadot are back for a Wonder Woman 1984 or Diana prince will evolve in the 80s and face two new dangerous enemies: Maxwell Lord and Cheetah.

This new film did not necessarily meet with success with 166 million dollars in cinema receipts while the revenue figures on HBO Max are kept under lock and key. But the deal is final: apparently, Wonder woman is indeed a financial flop according to the managers of the Warner. On top of that, the critical score is well below the previous one: 58% positive opinions on Rotten Tomatoes and mostly negative returns in France. The feature film Patty jenkins has long suffered from the uncertainties of 2020 in terms of cinema releases. And it did not fail: Wonder Woman 1984 is indeed a disaster at all levels and for several reasons.

Pick up action scenes

If the opening sequence remains nice to follow and well filmed (be careful, it’s the only one), the rest is to be thrown away. It is indeed the flashback of Diana and his ordeal being young which propels us effectively in the film. It’s beautiful, rhythmic, well filmed and extremely well framed by the light. Either way, the scenes on Themyscira are successful until we find Diana in the 80s when everything is too false and too desaturated. The action scenes are soft and unreadable, punctuated by filthy slow motion (the car chase scene). But given that 75% of the film is wordy rants well representative of a hard-pressed script, there is little to report about the action.

And what about the final fight between Diana and Cheetah, ugly and absurd, fast and without any intensity… We do not develop any sympathy for the antagonist, exacerbated as the poor Geek woman who does not have much luck in life. Finally, no action scene between Maxwell Lord and Diana is offered to us, since the resolution of the conflict intervenes like a hair on the soup with big blows of “You have to see the beauty of the world Max!” “. Well-thought-out and romanticism replace what one must have felt as being great bursts of action and thrills.

Misogyny, absurdity and rotten messages

Wonder Woman 1984 capitalizes most of its flaws on a character: Cheetah (Kristen Wiig). DC Films attempts to clumsily oppose two characters that he casually locks up in big walking pictures. Diana is the sublime, modern woman, with the respondent, strong and courageous, while Cheetah is the invisible woman par excellence, shy, humiliated and “ugly”. As she vows to feel like Diana, behold Cheetah The only change in physique is… to no longer have glasses.

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The only scene which shows us besides that Cheetah no longer lets herself be walked on is when she is seen violating two men who speak badly to her (Misandrie, we’re not that far from you). While there were thirty ways to make her film powerful and feminist, Patty Jenkins jumps with both feet into a bowl of soup.

But something even more absurd transforms Wonder Woman 1984 in cinematic absurdity: the theme of the exchange of bodies. In the movie, Diana indeed wishes to find Steve trevor, his beloved dead in the first part. The spirit of the latter returns to the body of an average man ” taken hostage “. From his eyes Diana sees Steve but it is indeed an unknown. This situation poses a very clear problem of consent since Diana form a couple with this man and abuse him without the latter putting up any resistance. Moreover, this is clearly an absurd and lazy way of bringing back Steve trevor, especially since it is by his presence that the epic side of the film dies in favor of its romantic side.

Non-existent secondary characters
Connie Nielsen as Hippolyta in Wonder Woman movie

If the Amazons held an important place in Wonder woman first of the name and even in the Snyder Cut, they are almost absent from WW1984. Since most of the film centers around the love affair between Diana and Steve, we lose the powerful mythological side of these warriors. And then there is no denying the charisma of Connie nielsen breaks the house a little more than that of Kristen wiig in Cheetah.

Only positive point of the film: Maxwell Lord

The character embodied by Pedro Pascal is undoubtedly one of the only strong points of the film. His extravagant character has a real background, he seems believable on screen, halfway between Nicolas Cage and Donald Trump, this real estate mogul is a real threat to Diana.

Over the 2h30 of film, there are indeed 30 minutes on the character, which allows us to have a well-introduced antagonist.

But other than that not everything else works, you would have to tap that dung deeper to narrow down every twist, to see how this feature film is possibly, along with Suicide Squad, the biggest DCEU disaster ever. product.

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