Diana, princess of the Amazons – a race of immortal warrior women created to protect humanity by Zeus himself – has trained her whole life to become the greatest fighter of her people. When US pilot Steve Trevor crash lands on the shores of Themyscira in 1918, the hidden island paradise of the Amazons, she learns of the Great War that has been raging across the world and sets out to bring an end to the fighting the only way she knows how: by destroying the god of war himself, Ares.
It’s easy to just describe Wonder Woman as a midpoint between Captain America: The First Avenger, for its period setting, and the mythological roots and sprinkled fish-out-of-water humour of Thor. A fair enough description, if all you’re really looking at are the aesthetics. Wonder Woman, taken in its entirety, is perhaps one of the most unique and awe-inspiring films to have ever come out of the comic book genre. Rarely has a film of its kind demonstrated such an unyielding commitment to substantiating the hero’s journey, and such defiantly patient storytelling in a bazaar of relentlessly quick-fire, breakneck-speed blockbusters. This is a film that breaks the spell of cinematic bloodlust and craving for carnage that has beset this genre for so long (not that Wonder Woman is without its exceptional action set-pieces), and brings the focus back down to earth, to a person who just wants to help people however possible. Director Patty Jenkins has hit it out of the park.
Gal Gadot has now entrenched herself as the definitive Wonder Woman of our time. Her performance is nothing short of sensational, embodying not only every aspect of Diana’s personality but every step of her maturing process to a flawless degree. Diana is woman, and warrior, and both define her just as much as each other without compensation or compromise. Her relationships with her mother, Queen Hippolyta (Connie Nielsen) and aunt/mentor General Antiope (Robin Wright) are especially integral in establishing this balance. Arguably more so than most origin stories, Wonder Woman lives or dies on the calibre of its star performer, and so this film truly belongs go Gadot. Chris Pine also is on standout form as the daring and honourable Steve Trevor, charismatic as ever but here imbued with a quiet, war-weary cynicism for his fellow man that clashes with his fundamental faith in humanity. If performance-wise the film belongs to Gadot, then character-wise the film almost belongs to Steve for precisely this conviction that provides the film’s fundamental lesson: that between love and war, there’s trust. (A think-piece by the Nerdist’s Alicia Lutes explores this more fully that’s well worth a read).
What criticisms can be made of Wonder Woman are largely nit-picky: at times, the film can feel somewhat overly weighted-down, so determined to ‘get it right’ that it perhaps overspends time and energy on what really should be minor considerations, an overlong boat scene meant to establish Diana and Steve’s dynamic when alone for example. Also in that regard, perhaps too often dialogue veers into excessive explaining territory, rather than letting performances and actions speak for themselves (a pitfall of the film’s climax especially). The only shortcoming of the film’s spectacular action sequences (truly unleashing the power of Wonder Woman) is a mild overindulgence of slow-motion that can likely be blamed on Zack Snyder’s input, and a case can be made for somewhat subpar CGI in these instances. The greatest misstep of all? An attempt at sleight-of-hand with Ares’ earthly identity that falls short of a ‘twist’, but still delivers a memorable payoff.
Context, so often, is everything. What we make of something depends almost always on not just the thing itself alone, but on ourselves at the point in time we experience it. The brightest, funniest, warmest film in the world cannot guarantee that someone watching it on a dark, terrible, cold day will laugh or smile. To say that Wonder Woman arrives with an abundance of context is to say the least. Stuttered, intensely divisive efforts to establish a shared cinematic universe of DC’s most iconic superheroes. An ongoing international wave of feminism, acting as both umbrella and lightning rod for a plethora of social issues, met with both enthusiastic support and evermore combative opposition.
Should any of this remotely impact the Wonder Woman watching experience, when so many superhero origin films have come and gone in baggage-free luxury? Absolutely not. But like Diana herself discovers upon leaving Themyscira’s waters, the world is not what it should be. Nevertheless, she persists, and the result is a superhero film that earns its place in the league of Richard Donner’s Superman and Christopher Nolan’s Batman Begins. From the moment Diana steps out into No Man’s Land, to a final shot that we can hope will serve as a rallying symbol for cinema of the future, Wonder Woman sheds all considerations of its context, and in doing so becomes timeless.
Final Score: 4.5/5