2017. Wonder Woman comes out and sweeps everything at the box office while being praised by many feminist intellectuals, starting with Iris Frey, considering that Wonder Woman is the first superhero film not to fall into the trap of evil-gaze. Focus on Wonder Woman 1984.
Its sequel, supposed to be released in 2020, finally has the possibility of being released in France only in video, VOD and broadcast on Canal +. Once crowned "the most anticipated film of 2020" by our colleagues at Première, what remains today of the sequel to the first real triumph of the DCEU?
The first Wonder Woman had the merit of doing justice to one of the icons of pop culture. However, it suffered the flaws of many modern superhero movies, including a rough third act with a missed CGI. Decidedly everywhere, the paw of Zack Snyder was also felt, making this first part an object of quality, but lacking personality. Following the box office hit, Patty Jenkins seems to have obtained total freedom, the result of which unfortunately translates into a mixed tone.
Wonder Woman 1984: A Mediocre Show
Where WW84 crashes, it is in the notion of the show. Jenkins tries to make action more artisanal, having affirmed a desire to limit digital special effects. We have nothing against the method, especially when it gives a turbobaffe to the Mad Max Fury Road. But the whole thing is marred by a real lack of finish worthy of the visual atrocity of the Black Panther climax. Note in particular this total failure that is the scene on the highway. Involving an ironic rescue of Palestinian children by Gal Gadot, a notorious supporter of the Israeli army.
Visible inlays, drooling effects, a digital Cheetah that looks like straight out of Cats (like what, making digital cats is impossible) among other mistakes of taste. We will also add the mediocre soundtrack of Hans Zimmer, which is far from competing with his best works. But the rough special effects don't make this Wonder Woman a complete failure either.
Patty Jenkins sometimes manages to instil excellent ideas. The idea of paying homage to the genre's founding father, Richard Donner's Superman, works quite well. Some scenes walk the thunder of Krypton, starting with a scene of apocalyptic panic in Washington, destroying the colorful and 80's atmosphere (much brighter than the first opus), to cause a stifling and scary atmosphere.
A scenario deeper than it seems
Where Wonder Woman 1984, works is in the writing of its 4 main characters. The romance of Diana and Steve is rather successful, although sometimes a little heavy in terms of humor. The character of Barbara, the future Cheetah, is extremely endearing, while Pedro Pascal as Max Lord, the perfect incarnation of Reganism, is very clearly THE success of this sequel.
A ruined small entrepreneur, managing to obtain a stone that allows him to grant any wish in exchange for additional power, he finds himself in an unlimited quest for wealth, which will destroy his personal balance. Cabotin, Pedro Pascal finds himself madly endearing as a father wanting to do everything to impress his son, forgetting that what he wants is above all to be able to spend time with his father.
This character, although classic, but truly touching, leads to the most interesting part of Patty Jenkins' story, namely the climax. Or rather a real anti-climax.
A call for optimism
We are witnessing an ideological struggle: on the one hand, ultra-capitalism destroying lives for profit, on the other, an optimistic vision of the world believing in the goodness of individuals. Wonder Woman 1984 screams at us that we all have our moments of cowardice, and weakness. But that we have the power to make the choice that will benefit the greatest number. Jenkins seems to have heard McTiernan, horrified by modern superhero movies, giving the impression that only a superman can solve the world's problems. To which the filmmaker seems to propose exactly the opposite, showing that the Gods cannot solve problems alone and that they need mortals to get there.
This climax may appear a call to action against a destructive system, be it capitalism, Hollywood, global warming, etc. By this fascinating idea, which does not repair the flaws of the film, Wonder Woman 1984 seems to be a call to make the viewer act, and not leave him passive in front of a consumable blockbuster like a Big Mac. An optimism that overflows everywhere, perhaps not appropriate in this period, but which is not as naive as Twitter seems to think.
If Wonder Woman 1984 is very far from being an excellent blockbuster, it remains an entertainment above average, and far from having to blush in front of Hollywood competition.
https://www.youtube.com/watch?v=JGR-Q9xQ5MY
