“Nothing good is born from lies. And greatness is not what you think.”Antiope
2017’s Wonder Woman broke the DCEU‘s streak of weak movies and beat Marvel to the punch with a female-fronted superhero movie. With Patty Jenkins returning to direct the sequel, expectations were high. Sadly, WW84 slumps to the level of its DC stablemates, with nearly all of its issues stemming from an awful script that is not only set in the 1980s but seems like it could have been written then too. The themes of desire and there being no good shortcuts to success are interesting but it is hard to engage with a story where every development is handwaved away as the result of a wish. Invariably the time jump means that only a single character is carried forward and the previous film’s team dynamic is lost; things are somehow worse when Chris Pine’s character is shoehorned back in (and then inevitably discarded). The new characters are poorly introduced (particularly the villains whose motivations are never sketched beyond a desire for power) and hackneyed screenwriting abounds: we cut to multiple conversations with people already laughing at some unheard joke to indicate chemistry rather than having to write dialogue that actually demonstrates it. The film’s best action is in its opening scene — a flashback to Amazons competing in a multi-disciplinary race across Themyscira — after which it is just Diana lassoing around and hurling people into walls. Even in the context of the DCEU much of the film makes little sense, like Diana’s unexplained desire to conceal her identity (since she has no one to protect) or learning to fly only never to use this ability with the Justice League thirty years later. It may be functional as a big budget blockbuster but, particularly in the wake of its predecessor, WW84 is bloated and disappointing.
Disclosure: I know personally at least one person involved in the making of this film.
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