The DCEU has finally gotten their act together! After their three consecutive misfires (“Man of Steel,” “Batman vs. Superman,” and “Suicide Squad”), they’ve redeemed themselves with “Wonder Woman.”
Diana Prince (Gal Gadot) grows up training to fight Ares, the God of War. She’s trained by her fierce aunt Antiope (Robin Wright) until one day a soldier named Steve Trevor (Chris Pine) appears on their beach, informing them of World War I. Diana agrees to help Steve stop a powerful enemy, under the assumption it will end all war. But will it?
“Wonder Woman” is the first DC film since the original “Superman” that paints heroism in a positive light. Diana doesn’t bomb buildings like in Tim Burton’s “Batman” or recklessly destroy buildings and kill thousands of people in a fight like “Man of Steel.” She fights, kills only when provoked, and she saves people (did Superman save anyone in “Man of Steel?”).
Diana’s flaw is often highlighted in key scenes where she has to decide between saving someone in front of her or pursuing the greater evil and save thousands of lives. This sets up some emotionally investing conflicts as she learns the hard way that she can’t save everyone; even if she wins a battle.
Gal Gadot is charismatic as the lead heroine; despite showing off impressive stunt work, I was more impressed with her emotional moments. It’s sweet watching her discover small joys such as babies or ice cream. It’s funny to see her match an outfit with her battle gear. It’s sad watching her mourn the loss of loved ones in battle and learning war has consequences.
Chris Pine brings boyish charm as the sly Trevor. He acts as Diana’s mentor, partner, and lover. I was more invested in their mentor-protege and buddy cop relationships rather than the actual romance. The romance between them is forced, but not annoying.
The main villains could have also used some more development and originality since they are cliched mad scientists; however, “Wonder Woman” is about the hero and not the villain, so I’ll let it pass.
Director Patty Jenkins also pulls off something few indie directors have accomplished: transition from a low-budget film to a big blockbuster and direct both competently. Each action sequence looks like an expressionist painting and are strengthened by Jenkins’s exceptional use of slow motion (a style I’ve resented in recent years).
“Wonder Woman” is arguably the best film so far this summer. And when that guitar solo kicks in during action sequences, it will likely have you quietly saying, “Yes,” like it did for me.