It’s rare when a film merits effusive praise. It’s even rarer when the film is part of a studio franchise wherein the reception of the previous entries was decidedly mixed. However, Wonder Woman, the latest in Warner Bros.' line of live-action DC Entertainment films, deserves the accolades it earns. It breaks the mold by being (relatively) faithful to the character and her world, delivering a cohesive, entertaining tale featuring a charismatic lead.
What sets this film apart from its predecessors, beginning with 2013’s Man of Steel? Coherency of plot and motivation, for one. The plot is straightforward: On the island of Themyscira lives an Amazonian race, led by the regal Queen Hippolyta (Connie Nielsen), whose purpose is to safeguard the world from the machinations of the war god Ares. After a millennium, Princess Diana (Gal Gadot), daughter of Hippolyta, witnesses and rescues Captain Steve Trevor (Chris Pine) from a WWI fighter plane crash. Coming to realize that Ares has taken a foothold in “the world of men”, she leaves the island to fulfill the Amazons’ purpose, unaware the trials, truths, and crisis of faith that await her. Working from a screenplay by Allen Heinberg (with story assist by Zack Snyder and Jason Fuchs, based on characters created by William Moulton Marston), Director Patty Jenkins does not obfuscate the narrative with unnecessary parallels or tacked-on “C” plots. Any developments flow organically without distracting tangents. She gets both the character and her world, and subtly adds continuity to Diana's "future" appearance in Batman v. Superman: Dawn of Justice (2016), highlighting her attention to detail.
Oh, the film does bear Snyder’s signature visual hallmarks…the Raphaelesque paintings come to life, the slow motion action sequences…but, in comparison with the previous Snyder-directed DC films, here they are used judiciously; just enough to enhance the story without existing for its own sake. Jenkins understands that visuals and action set pieces are all well and good, but they’re rendered meaningless without grounding humanity, and that’s what both Gal Gadot and Chris Pine provide in spades.
Here, Gadot conveys the nascent-Wonder Woman’s naivete beguilingly without compromising her conviction, evincing vulnerability within her (relative) invulnerability; a contradiction perhaps, but even this shows that Jenkins directs with a complete grasp of the character, as Wonder Woman as always been a conundrum: Warrior as emissary of peace. Godot’s charisma carries the film, and her having served in the Israeli army adds credibility to her action sequences. Her Diana is poised, measured, and assured. While she could arguably carry this film on her own, her impact is heightened immensely by Chris Pine, who gives Trevor a three-dimensionality his comic counterpart arguably lacked (and managing to be subtle enough to separate his Trevor from another captain Pine is famous for playing). He’s a competent soldier with a vulnerability that does not undermine his masculinity. Given the nature of his role, it’s expected that he would provide comic relief. However, those comedic bits evolve naturally from the story without compromising the character’s integrity. To say more about his character’s impact would give away much of the plot. Needless to say, the chemistry between he and Godot feels more honest and real than in most films of this sort. Like the best of relationships, they balance each other out, and the story allows them to explore the polar aspects of femininity and masculinity without sacrificing either aspect in each other. Simply put, the two of them, and their shared hero's journey, form the heart of the entire enterprise. Their emotional beats and climaxes resonate and ground the film.
The supporting players are top notch, clearly having fun with the material even as they imbue it with a gravitas that grounds the more fantastical elements. Said Taghmaoui (“Sameer”), Ewen Bremner (“Charlie”), and Eugene Brave Rock (“The Chief”) as Diana’s commando team all provide back up in performance as well as character, with Said being the standout of the three. Connie Nielsen’s regal Hippolyta is by turns imperious and vulnerable, concerned over her daughter’s fate. David Thewlis is one of those reliable actors who never gives a bad performance, and his turn as Sir Patrick is no exception. Unfortunately, the same cannot be said of Danny Huston as Commander Ludendorff. Huston is a more nuanced actor than the material provides. It can be argued that in his case nuance must be sacrificed to the plot. Nevertheless, his performance comes off as clunky and uneven.
The special effects are top notch, save for a few hiccups (especially in relation to Diana’s Lasso of Truth), and there are some minor plot inconsistencies, but nothing so outstanding that would lessen any enjoyment derived from the film. Jenkins’ direction is deftly assured, with a brisk pacing that engages and makes its two hour, twenty minute run time seem less than. Other nice touches are the subtle callbacks to not only Wonder Woman’s television history (evident in the very first shot of Diana), but also of a seminal superhero film which came out around the same time (of which one scene in this film blatantly, lovingly homages). In other words, the film’s heart extends beyond that of the leads’ performances. Rupert Gregson-Williams’ channels his inner David Arkenstone for a score that is lush and energetic while managing to elevate Hans Zimmer/Tom Holkenberg’s "Wonder Woman" theme, its acoustics more lyrical and balletic than the cacophony of sound the other DC Extended Universe scores are known for.
Wonder Woman is not just a triumph as a superhero film, but as a film, period. It is by turns fun and dramatic, full of pathos and hope. Gal Gadot fulfills the promise only hinted at by her woefully short stint in BvS, and the film thoroughly entertains from beginning to end. It’s a film that belies the anti-female heroic lead rhetoric even as it transcends the argument. Hopefully, this heralds a newfound appreciation for quality in Warner Bros. superhero films going forward. A film version of this character has been long overdue, but the final product shows that it was well worth the wait. To crib from the earlier live-action incarnation…you’re a wonder, Wonder Woman.