When the DCEU’s first iteration of Wonder Woman was released 2017, for many, including myself, it was considered the first good (if not fairly decent) DCEU film adaptation of a classic superhero – and not only a classic superhero, but one that inspired generations of women and girls. Of course, a sequel was inevitable, and, after three long years and a global pandemic, it was finally released. So, how does it hold up?
Set in, obviously, the year 1984, Diana Prince is working as a senior anthropologist at the Smithsonian by day, fighting crime by night… and also by day. Following the introduction of newcomer Barbara Ann Minerva, Diana’s insecure and naïve co-worker, they are visited by Maxwell Lord, an aspiring businessman, who takes interest in an artifact the two women are studying – the Dreamstone, a mysterious relic said to grant the wishes of any user. Desperate to make his venture successful by any means, Lord steals the stone, and mass havoc begins to descend upon the world. It’s up to Diana and an unexpected friend – the much-anticipated Steve, whose return is, shockingly, not a spoiler – to prevent Lord from causing world destruction as we know it, yada yada.
Though at this point I’d normally discuss what I enjoyed about this film, I unfortunately find that difficult to do… because there was very little that I did like. To phrase this in the most non-spoilery and monosyllabic way possible: This film is a giant mess. The first half to quarter of an hour consists of mostly lighthearted comedy, some exposition, and very little build-up, as we follow Diana through her somewhat boring civilian life. By contrast, the final act of the film is nothing but action sequence after action sequence – a stark difference from the first film, which at least managed to main a consistent dark tone throughout. And while it would be silly to criticize a superhero movie on the basis of having ridiculous action sequences, the ones in this film really take the cake as being not only way too nonsensical, but the majority of them being badly paced and awkwardly shot to boot. While, yes, absurd and over-the-top action wouldn’t be a problem if a film isn’t taking itself seriously, this film does expect you to take it and its message seriously, though almost nothing can actually make you do that. Yes, it is a good message, but when it is delivered in a manner this dramatic and corny, it has you cringing in your seat rather than sitting up and taking it in.
All that aside, that’s not to say I didn’t enjoy certain aspects of the film. While I do think it could’ve been handled much better, I did ultimately appreciate the main theme of the film, which makes its lackluster portrayal all the more disappointing. I did like, however, the handling of Steve, as bringing characters ‘back from the dead’ is a topic that is rarely handled well in these types of films. I was surprised that he was, in some respects, the one saving grace in the entire movie, and the scenes of him and Diana interacting in a well-realized 80s United States were very charming. Unfortunately, that is all there really is to it. Overall, this film is definitely an example of how a sequel isn’t always superior to its predecessor.
Final rating: 4/10
The Art Archive 