While generic origin stories haven't been something the DC juggernaut has been interested in so far, it seems like they've taken a second look at the idea with this latest instalment. It's always a crowd pleasing structure, but of course things can feel too familiar. On the other hand this is never an entirely negative attribute. While Man of Steel was passable, the subsequent hero on hero slug-fest was a mess that could have KO'd any chance of something smaller and more light hearted. However, with Princess Diana finally getting an proper introduction into this series it seems this approach might be exactly what was needed.
There are a lot of deja-vu moments here, with a naive hero living in an isolated fantasy word, and later a blend of physics defying action and period war time locations. These are all tried and tested ideas. But they're pretty solid inclusions and they provide enough entertainment value, visual variety and spectacle where required. The mythological exposition used adds texture, and there are some detailed scrolls and murals included to build a sense of history. The sun lit beaches of an Amazon island contrast nicely with a soot coated, blood soaked, First World War era Europe, and the kinds of action set pieces you might expect from these two scenarios clashing all make an appearance.
The fights and training montages early on suffer from an over use of slow motion; echoing the worst tendencies of things post 300 but fortunately it doesn't happen too often. The main second act set piece is the main highlight, with trench warfare and magic whips offering a super powered series of action beats. Gal Gadot's Diana does her thing, smashing vehicles and sniper nests along the way. It uses just enough real world atmosphere against flashes of CGI without ever going too far. It's a shame that the big finale feels far messier, falling prey to swirling clouds of visual effects and losing the smaller more effective sense of scale. The ultimate villain is also kind of weak, with muddled motivations and a lot of fire and lightning in place of characterisation. But fortunately the title character manages to deliver enough to keep things interesting.
It's odd, but having a fish out of water storyline in which a young and idealistic warrior enters a world of tragedy and grey morals feels surprisingly fresh here, when in reality it's pretty trite. There are all kinds of silly lines about the roles of men and women, the architecture of London, and the kinds of period fashion on offer. It feels like a throwback to cheesy '90s action films that haven't really existed for a long time. There are shades of Stephen Sommers' The Mummy here in one or two instances. It's a weird but fun to see a few of these cornball moments making a comeback. Diana and war time spy Steve (Chris Pine) go through all the motions but provide enough charm. He also brings along a band of almost-heroes who serve as an economical way of showing her the kinds of problems people outside of her homeland suffer with.
This is nothing exceptional but it still delivers where it counts. It has a likeable central performance and a protagonist with just enough backstory to keep things moving. It's a shame the last few scenes still become another big hurricane of effects noise, although they try and hold it back. The villains are undercooked but in some ways the war itself is a horrifying enough obstacle. Warmongering gas makers and evil scientists just aren't that interesting, and while Danny Huston and Elena Anaya do a good job, they're never that engaging. There's a good hero theme tune at least, which is something films tend to skip these days. If Wonder Woman's big plan was to deliver hope back to a miserable world, then it's fitting that her first big screen outing provides the same thing for future sequels and spin-offs.
3/5
BONUS REVIEW
GET OUT (2017)
Jordan Peele's directorial debut is a mixture of eerie chills and offbeat comedy, in a story about a young man meeting his girlfriend's wealthy parents for the first time. This premise itself offers enough real life unease for any new couple but the addition of worries about race relations and the extra culture clash elements give it all a few more layers. Mixing this up with a familiar plot about someone being trapped with weird people in an isolated place provides a good foundation for creepy feelings, awkward family drama and tested romantic relationships. I'm sure their big garden party get together falling on this same weekend is just a coincidence.
Overall the subtext is a little too on the nose, and in terms of actual horror movie moments things are a little too low key considering just how weird and twisted both the scares and the comedy could have been. It should have been something far more unnerving and a lot funnier looking back at the kinds of TV skits the director has been involved in. It's a well made piece of work, with good measured pacing and a fun cast that all deliver solid performances. There are also some memorable moments in the second act that provide the first hints something odd is going on at the family residence. The sequences involving the mother's hypnotherapy skills and what the household employees seem to be doing is all great. However, the last 25 minutes should have really gone off the rails instead of being so reserved.
3/5
