But they’re billed as a collection of special talents that barely come into play.īut so much of Wonder Woman finds the potential the DC movies have always had in their heroes. They provide some opportunities for pathos and self-examination, especially when Chief admits that he’s a war profiteer because he sees no other choice for a Native American booted from his land. Sameer, Charlie ( Trainspotting’s Ewen Bremner), and Chief (Eugene Brave Rock) are so thinly drawn, they come across as franchise cameos, being set up for their own feature outing while not having enough to do in this one. The film spends a questionable amount of time on bringing in Steve’s old war buddies, a collection of half-realized, colorful scoundrels who don’t add much to the story except extra voices, and who come across as a weirdly watered-down version of Captain America’s already vaguely sketched Howling Commandoes. The villains often seem too distant and disconnected from the action, which is ultimately more about Diana coming to terms with war than coming to terms with specific warmongers. But her gender is never the story’s primary thrust.
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#WONDER WOMAN MOVIE MOVIE#
Her femininity is part of the story, for the way it makes even the other heroes in the movie underestimate and discount her. The DCEU’s Batman and Superman are both tormented by their solitude and their histories as a one-of-a-kind being, Wonder Woman takes her solitude for granted, and her history is almost entirely of her own choosing. But while Wonder Woman is supremely calculated in its gender politics and its gender role reversals, the question of how a female hero sees the world winds up being less interesting than the question of how an entirely self-assured hero sees it. Jenkins has talked extensively in the media about the difficulties of directing a film with such high stakes for women filmmakers and female superheroes - Wonder Woman is being hyped as a litmus test for whether modern cinema audiences will pack theaters to watch a superhero movie with a woman protagonist, and whether a woman director can bring the blockbuster action. And it makes all the difference to the story. In their hands, Wonder Woman questions her place in the world, but not her inherent identity.
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They take their protagonist’s natural superiority for granted, making it a joy instead of a heavy burden. Director Patty Jenkins ( Monster) and screenwriter Allan Heinberg explore those themes with a humanity that the franchise’s previous films were lacking. It’s still exploring the DCEU’s favorite themes: whether mankind truly deserves heroes, and whether it’s possible for one person to justly wield immense power. Wonder Woman has a lightness and wryness that none of its DC predecessors could claim, but it’s still about philosophical crisis and a hero trying to find an identity. It’s that it embraces and redefines it, making it clear that it’s possible to wallow in the emotional troubles that have defined DCEU movies, and still have fun.
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So the impressive thing about the series’s latest installment, Wonder Woman, isn’t that it abandons this approach.