Focusing on the film scene, if something exemplifies the chaotic and atypical situation in which the world has been plunged during this disastrous year 2020, that has been the shortage of superhero productions. To date, we were used to an incessant flow of annual releases of this type of product, which made many of us begin to notice a certain saturation and to perceive more and more obvious seams shared by titles, except for honorable exceptions, increasingly similar to each other.
I’m not going to deny that, despite being a huge fan of the subgenre, the spandex and superpowers bombardment was beginning to take its toll on me, and I was confident that this enforced hiatus would help me in a way to regain interest in it. Unfortunately, despite having greatly enjoyed not only the solo adventure of Wonder Woman released in 2017 but many of the DC Films films since Zack Snyder’s ‘Man of Steel’, ‘Wonder Woman 1984′ it has only asserted my growing disenchantment.
Camouflaged as an entertaining audiovisual show at the height of what the character requires and far from the freshness provided by some of her recent counterparts, Patty Jenkins’ second approach to the Amazon of Detective Comics reflects once again the less inspired side of the industry about a form booklet, full of hollow resources, generic characters and an irritating taste of déjà vu.
Looking To The Past
It is, to say the least, paradoxical that ‘Wonder Woman 1984’ presents a look at the past in the case of a feature film that seems to have been released out of date in narrative terms. And is that, once its incomprehensibly bulky 150 minutes of footage is finished – which, to be honest, does not become particularly burdensome – it gives the feeling that no more than a decade has passed since La casa de las ideas began to swell the comic bubble with the first stone of the ambitious Marvel Cinematic Universe.
I am one of those who believe that the vast majority of stories have already been told in one way or another; But the simple premise of the film, a kind of apocryphal adaptation of ‘The monkey’s leg’ by WW Jacobs – in fact, a character alludes to the story without any kind of modesty – already shows a lack of originality that ends up leading to the predictability that would invite you to quickly disconnect were it not for the right pace with which the story evolves.
Beyond its referents, the treatment of the protagonists and antagonists of ‘Wonder Woman 1984’ is equally uninspired; something especially accentuated in some villains halfway between cliché and caricature, drawn with a certain condescension and whose motivations leave much to be desired in dramatic terms. Special mention for Pedro Pascal’s Maxwell Lord; an obvious alternate version of now-former US President Donald Trump that helps shape the veiled political discourse on the film.
The latter is perfectly aligned with a tone that does not fully find its way, and whose predominant naive tone, inherited from some similar productions of the 80s, collides head-on with an imposed gravity that does not finish curdling in the whole and he loses between the lack of risk and the usual well-intentioned sentimentality. Something that reaches its maximum exponent in a third act that dangerously borders the grounds of embarrassment and that seems to be taken from the smuggest text by Paulo Coelho.
Holding The Guy
Although practically everything exposed so far invites us to think about another major disaster for DC Films after the poor rehash that turned out to be ‘Birds of prey’, ‘Wonder Woman 1984’ manages to keep the type thanks to its great bulwark: a cast that exudes chemistry and charisma, and in which stand out from the aforementioned Pedro Pascal too, especially, the duo composed of the dazzling Gal Gadot and Kristen Wiig; going through a Chris Pine who returns as Steve Trevor after his ill fate in the original ‘Wonder Woman’ thanks to a little less than embarrassing script artifice.
Along with the cast, some of the brand’s action scenes shine, as colorful and intense as they are surprisingly rare – unfortunately we did not get rid of the rigorous fight with a computer-generated enemy in between – that combines the fantastic work of the cinematographer Matthew Jensen with the scores of a wealthy Hans Zimmer, but exceedingly efficient in his work at the head of the soundtrack. Two key elements to help us digest more easily a work already designed for quick and ephemeral consumption.
Wishes and their consequences are an essential part of the narrative engine that drives ‘Wonder Woman 1984’. As well; If I had to ask for one after seeing the latest from Patty Jenkins, that would be that the more than likely return of Gal Gadot’s Wonder Woman to the big screen could disengage from the tight ties of the industry to offer a free product a certain point, risky, that would do justice to its iconic protagonist. If the price to pay for it were to spend a few years without superh