In the near future, a weary Logan cares for an ailing Professor X, somewhere on the Mexican border. However, Logan's attempts to hide from the world, and his legacy, are upended when a young mutant arrives, pursued by dark forces.
Diana, princess of the Amazons, trained to be an unconquerable warrior. Raised on a sheltered island paradise, when a pilot crashes on their shores and tells of a massive conflict raging in the outside world, Diana leaves her home, convinced she can stop the threat. Fighting alongside man in a war to end all wars, Diana will discover her full powers and her true destiny.
No one addresses Diana as "Wonder Woman" throughout this entire film. In addition, Diana is always wearing her Amazonian clothing whenever she is wearing other dresses over it. There are no transformation scenes in this production. See more »
The accent used by the young actress who portrays Diana at age 8 changes numerous times from her native Scottish accent to a British accent to almost no accent to a "Themysciran" accent. See more »
I used to want to save the world. This beautiful place. But I knew so little then. It is a land of beauty and wonder, worth cherishing in every way. But the closer you get, the more you see the great darkness simmering within. And mankind? Mankind is another story altogether.
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The closing credits are set in a montage of scenes from the film, accompanied by Wonder Woman's lasso, shield and logo. See more »
I can't help but wonder if I watched the same film that impressed so many people. As with most DC Comics films, this one was a great disappointment. While Marvel Comics films tend to be satirical and even self-effacing, DC films are pretentious and tedious. Sadly, Wonder Woman was no exception to this rule.
The scripting was totally unimaginative, with dialogue that bordered on infantile. Visually, the landscapes all seemed plastic, with B-movie grade CGI throughout. Even the music was awkward, fighting the dialogue during the more intimate moments and drowning each scene in instrumentals. I found myself doubting whether the director and editor are aware that there doesn't have to be a bombastic or flowery incidental score under everything it displayed a lack of confidence in the dialogue and acting carrying the scene.
Regarding the acting, both Gadot and Pine gave it their best, struggling with the stilted dialogue and boring, telegraphed story line but even they couldn't transcend this quagmire. If not for its pretentiousness, this film would have played far better as a comedy, lampooning itself. Instead, it drowns itself in incessant platitudes of women good/men bad, framed within a plebian one-dimensional plot.
Again, I'm at a loss to explain its high marks, other than to ascribe it to the currently trendy political correctness that elevates all patronizing misandry to high art and entertainment.
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