Wonder Woman 1984

Wonder Woman 1984 ★★★★½

All you need is to want it.

A plot built around wishing upon, with no material threat... I get why some would regard Wonder Woman 1984 as lazy. On my end, I just find it to be one rare beautiful tentpole, on how innocence can quickly turn into ignorance, and the price one pays for that.

Patty Jenkins really built something here. Ultra-reminiscent of the blockbusters of the era it’s set in, when some dumb idea could become the most massive of crowdpleasers, it’s an homage bursting with sentiment, rocked by a really filmic gaze, and too one of Hans Zimmer’s most daunting efforts.

It’s got everything, from “coffee, tea, me?”, to telemarketing and Ponzi schemes, playfully flirting with the fallout of the Reaganomics along the way. (I resent the lack of splashy needledrops, nevertheless.)

Gal is as glowing and pure as ever, and Kristen hadn’t been put to such a good use since... mother!? But Pedro is the standout, and man, what a lunacy of a powerhouse. It’s like the camera is under a spell; Maxwell Lord is by far and large one of the most charismatic antagonists the CBM genre has seen. He’s so perfect.

All in all, WW84 was the best Christmas present I could’ve ever wished for this year; it sure delivered. If it is corporate filmmaking? I guess it is, in theory; in essence, it’s all about delivering the perfect formula in a most heartfelt manner, and Patty is a master at that. Magical, humane, wondrous.

I can’t wait to revisit it, I’m still smiling. A never-ending smile, one of those you can’t fake, in these dark times.

And to all of the self-centered streaming-only cultists out there, this one goes out to you: there’s no way you’ll ever get to feel that Fourth of July scene in your living room the way it’s meant to be felt.

Not now, not ever.

2020 Ranked
DCEU Ranked

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