by Paislee House, Film Critic
“Wonder Woman” is many things. It is a superhero film, a love story, a coming-of-age tale and a movie that gives voice to women in a genre in which they are severely underrepresented. In her sophomore film following 2003’s “Monster,” Patty Jenkins is able to deliver a powerhouse of a superhero film that displays her dynamic range as a film director.
The movie can be thought of in three acts: Diana growing up, Diana embarking on a mission and Diana finishing that mission. In this organization, the first two acts are the best parts of the film. In the beginning of the film, the audience is given a brief background of Diana.
There are wide, breathtaking shots of the fictional island of Themyscira where the Amazons live. The Amazons seem to be constantly training for reasons unknown to the audience. Then the paradise is interrupted and the movie marches forward toward its second act: Diana in early 20th century London. It is here where the film reaches its height in terms of dialogue.
The writing is smart, quick and commits to addressing gender inequalities of the time. One of the best examples of this occurs when Diana is shopping for traditional women’s clothes and is inquisitive about corsets and why women would need to hide their “tummies.” While there are some admirable writing choices, the story of “Wonder Woman” is a bit run-of-the-mill for the genre. The story is essentially the portrait of a World War I film painted into the superhero landscape, and because of this the film’s narrative can’t claim to be highly original art.
Nevertheless, the stale story is somewhat saved by great casting. Gal Gadot is a fantastic Wonder Woman. She is strong, smart, funny and fluid in combat. Chris Pine plays her opposite, Steve Trevor, in an unselfish way that let’s Wonder Woman fully shine while still giving a great performance. The two have great chemistry and their relationship, while predictable, is fun to watch.
Though Chris Pine gives a great performance, the best characters in “Wonder Woman” are its strong women. In the beginning, we are given the Amazons. From there we follow Diana as she enters the realm of Man. A surprise favorite is Lucy Davis as Etta, Steve Trevor’s secretary. Davis is excellent comic relief in the dour setting of London. This ability to balance comedic dialogue with critical comments on subjects like the historic treatment of women is a refreshing change of pace for the superhero genre.
“Wonder Woman” loses some of its steam with the use of special effects. There are moments in the film meant to be dramatic that come off as almost laughable due to the terrible CGI. In one scene, Diana climbs out of the trenches and the camera looks at her, straight on, in slow motion. Though the special effects may be underwhelming, Wonder Woman’s true stature and status as a warrior princess with God given powers is on full display in the film.
The decision to put Patty Jenkins behind the camera was considered a gamble, but Warner Brothers won big with their decision. There is a sense of understanding achieved by Jenkins’ camera and its ability to capture the little looks of Gal Gadot’s Wonder Woman. Not only this, but Jenkins as the director is able to convey the strength of the Amazons in the beginning of the film. The first portion of the movie occurs on an idyllic island populated by women, but it never feels patronizing or sexualized. As an audience, we are captivated solely by the sheer power of the women as they train and fight.
Though the story isn’t as compelling as it could be and some moments of terrible CGI mar the impact of important scenes, “Wonder Woman” is a major step-up for the superhero genre. With great casting, astonishing images and impressive direction, “Wonder Woman” is a welcome surprise and a must-see summer blockbuster.
Rating: 8/10