Wonder Woman debuted back in 2017 and immediately established itself as one of the great DC Comics’ page to screen efforts from Warner Bros. Its sequel is finally here, after months of Covid related delays that find the film opening on HBO Max.
As the film’s title indicates, Wonder Woman 1984 lands in the mid-80s, and although pastels and parachute pants permeate the fashion landscape and Patty Jenkins’ film embraces the fashion of the age, it never does so without overbearing its presence. What is also appreciated is it doesn’t hit you over the head with songs from that era. Usually, filmmakers resort to a soundtrack chock full of 80s hits that supposedly instantly sweep you away to the Decade of Decadence. Sure, she throws in a fantastic nod to the era with Frankie Goes to Hollywood’s Welcome to the Pleasure Dome, but that is pretty much it. Have to give it to a filmmaker so confident in her ability to capture a timeline without resorting to the greatest hits of an era long gone.
Gal Gadot is back as Diana Prince and her super alter-ego, Wonder Woman. The film commences back on the island of her birth. She is a child competing in an athletic competition against warriors more than twice her age. She learns a valuable lesson that day, that success cannot truly be achieved through cutting corners and it is a message that will permeate the entire film.
The story flashes forward to the titular year and Prince is working in antiquities at the Smithsonian in Washington, D.C.. That’s where she meets Kristen Wiig’s Barbara Minerva, who is new and put right to work after that mall heist gone wrong (thanks to Wonder Woman) has revealed a storefront that truly served as a facilitator for moving stolen ancient artifacts.
They land at Minerva’s desk. One of them is an ancient wish maker and one of the first wishes comes from the holder herself. Minerva desires to be more like Prince. She has no idea what she was just granted. Incidentally, while holding it and almost unaware she did it, Diana wishes for the return of her pilot Steve (Chris Pine), who died in World War I during the first film.
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Pedro Pascal arrives as a modern-day snake oil salesman with dollar signs in his eyes, all without the desire to put in the hard work. He knows all too well about the wish relic and while wooing Barbara, he “borrows” it. His wishes are more nefarious and spin the entire globe into utter chaos. As Minerva starts to gain Wonder Woman’s powers, Pascal’s Maxwell Lord has a formidable sidekick with her. He also holds the key to the item’s wish power and its exponential power potential for the entire globe.
Gadot proves yet again that she is the perfect Wonder Woman and Diana Prince. That’s the key in any superhero casting is the hero and the alter ego. It doesn’t always work. The Israeli-born actress proves to be a gift from superhero heaven. As seen in the Wonder Woman 1984 trailer, Pine’s Steve does come back—and it’s explained, but does leave us with a few nagging questions.
Every wish granted comes with a cost. It is one that is unforeseen at the time of granting, but one that will rear its head more sooner than later.
Jenkins has woven another Wonder web that not only showcases the innate gifts of her star, but also this world the filmmaker has built. What’s fascinating about Jenkins choosing 1984 as the time and place of her sequel is that takes place well before the days of Justice League. Wonder Woman is still in the shadows, a mysterious figure who happens to show up and save the day—albeit on a smaller scale.
That’s a smart move as it allows the storyteller to keep this entire series all about Wonder Woman with her powers to save the world, all while suffering the heartbreak that is knowing your one true love perished almost seven decades prior.
Jenkins’ direction finds her with a firm finger on the pulse of when to push the ebbs and flows of emotion, action, suspense, and intrigue.
Wiig, some thought, might be miscast. The comedienne is funny as all get-up, we all know that—most recently with Barb and Star. When Wiig slowly, but surely, becomes what she wishes for, a stark personality change occurs—and it is mesmerizing to witness.
Pascal, who recently wowed us in the season 2 finale of The Mandalorian and first blew us away in Narcos, is a dreamer with a penchant for taking shortcuts and up until now, that has blown up in his face. With the legendary wish maker in his possession, the world is at his fingertips. All he wants is more! The actor embodies the villain as almost a reluctant baddie, a man imprisoned by his desires and shaped by his shameful youth and past.
The action sequences are stellar and simultaneously pack an emotional punch. Jenkins once again shows that she is a helmer who can weave emotion and action in a perfect dance that allows the viewer to oscillate between feelings throughout. The story, one she co-wrote with Geoff Johns and Dave Callaham, feels a bit bloated at times. Wonder Woman 1984 also sputters on occasion.
Gadot is a find. From the moment she put on the suit, she was Wonder Woman. This time out, she is a bit lost but finds her purpose in the demands of the day. It will be fascinating to see where the character goes from here.
The Israeli actress has such a subtle command and care to her turn that those are the perfect touches for a Wonder Woman of the late 20th and early 21st centuries. With what Gadot (and Jenkins) brings to Wonder Woman, she is exactly the hero that we need right now.
As soon as those credits roll, dive into the first bonus feature… The Making of Wonder Woman 1984: Expanding the Wonder. The lengthy (over 36 minutes) and insightful featurette explores areas most extras do not, such as location scouting, set design and its construction, and how that Lynda Carter cameo came to be! Jenkins, Gadot, Wiig, Pine, producer Chuck Roven, Pine, production designer Aline Bonetto, set decorator Anna Lynch-Robinson, and several others make this a must-see that is both enlightening and entertaining.
Gal & Kristen: Friends Forever is a cute five-minute featurette that explores the two characters’ connection and the actresses’ reveal their off-screen friendship that developed over the course of filming. It’s adorable.
Scene Studies is a great idea. They are roughly five-minute breakdowns of two major (and complex) action sequences, The Open Road and The Mall. Those are, first of all, both great sequences to learn how Jenkins put it all together and two, illustrate the filmmakers’ command of her craft.
That opening sequence, back on the Amazon island, is a gem. Small But Mighty is a terrific ten-minute look at how that scene came to be—not to mention the ultimate joy that is Lilly Aspell’s—who plays young Diana—audition tape!
Meet the Amazons is a wickedly informative featurette that is basically a virtual roundtable interview (thanks to Covid) that clocks in at just over 20 minutes. It finds Jenkins, along with Aspell (young Diana), costume designer Lindy Hemming and production designer Aline Bonetto. It results in a fascinating conversation that above all else, has me eagerly awaiting the third incarnation of Jenkins’ Wonder Woman to see where she utilizes the Amazon aspect of the story and hopefully, we can go even deeper.
Also included is the so-called Black Gold Infomercial that is a VHS-grade version of Max Lorenzano’s iconic TV spot.
There’s also a hilarious six-and-a-half-minute gag reel that demonstrates, above everything else, that everyone on this set had a fantastic time making the movie. It’s true what they say if the actors and actresses are having fun, so too will the audience.
Film Grade: B
Bonus Features: B+