The DCEU strikes back with the best comic book movie in years
After a rough patch in theaters for DC—a stretch that included the abominably stupid and poorly plotted Suicide Squad and the unfortunately bowdlerized Batman v Superman: Dawn of Justice, the director’s cut of which is far superior—Wonder Woman suggests that Warner Brothers may be getting things back on track. Funny, action-packed, and filled with solid supporting performances, Wonder Woman was the most fun I’ve had at the theater so far this year.
Wonder Woman is a rather straightforward origin story, following all the basic beats: introduction, discovery of and adaptation to life with superpowers, the formation of a motley team of allies, and the undertaking of a quest to better the world. From the period setting to the straightforwardly decent nature of the protagonist to the mimicking of plot points, it sometimes feels like a beat-for-beat remake of Captain America: The First Avenger.
Directed by Patty Jenkins and written by Allan Heinberg (from a story by Heinberg, Zack Snyder, and Jason Fuchs), Wonder Woman is oddly deficient in certain ways. It doesn’t divulge some of the information one expects from an origin story—by film’s end it’s unclear what powers, exactly, Wonder Woman actually has, other than some combination of strength, speed, and semi-invulnerability to go along with the lasso of truth and magical bracelets that do … something. But it’s probably better to be left with too little information than too much. Given her status as a demigod, it’s not as though we really need to understand the physics of it all.
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