While generic origin stories haven't really been something the DC juggernaut has been interested in developing so far, it seems like they've taken a second look at the idea with this latest instalment. It's always a crowd pleasing plot structure, but of course things always feel far too familiar. On the other hand this is never an entirely negative attribute. While I was fairly lenient with Man of Steel, the subsequent hero on hero slug-fest was a huge mess that could have KO'd any chance of something smaller and more light hearted making an impression. However with Gal Gadot finally getting an proper introduction into this series it seems as though a fresh approach might be exactly what was needed. At least someone remembered how a three act superhero adventure was meant to work.
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. It's nothing new, 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 pieces of ancient mythological exposition used add 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 fight sequences and training montages early on suffer from an over use of slow motion ramping. It echoes the worst moments of things like 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 coming together to offer a super powered series of action beats. Gadot's Princess Diana does her thing, smashing vehicles and sniper nests along the way. It uses just enough bleak real world atmosphere against the 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 and more effective sense of scale. The ultimate villain Ares is also kind of weak. There are some muddled motivations and a lot of fire and lighting in place of real 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 foolishly 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 notion but I kind of liked seeing a few of these cornball moments making a comeback. Diana and war time spy Steve (Chris Pine) go through all the usual motions but it provides enough charm. He also brings along a rag tag band of almost-heroes that serves as an economical way of showing her the kinds of problems people outside of her homeland paradise suffer with.
This is nothing exceptional but it still delivers where it counts. It has a likeable central performance in service of a protagonist with just enough back story to keep things moving. It's a shame the last few scenes still become another big hurricane of light and noise, although they try and hold off for a while. The villains are undercooked but in some ways the war itself is a horrifying enough obstacle to overcome. 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. They get in a good hero theme tune at least, which is something people 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. It's a minor success that often feels like a test run considering how much is borrowed from other films, but it's nice to just enjoy this kind of thing for once.
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 black man meeting his white girlfriend's wealthy parents for the first time. This initial premise of course offers a variety of 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 familiar plot ideas 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. I expected 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 few 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 I would have liked to see the last 25 minutes go really off the rails instead of being so reserved.
3/5
