“You Have Been My Greatest Love. Be Careful, Diana. They Do Not Deserve You…”
Whilst many audiences could be forgiven for experiencing a somewhat turgid time at the cinema within the summer period, suffering from a duo hit of remakes and sequels amidst an air of superhero fatigue, particularly within a year in which the two major forces in the form of DC and Marvel Comics are warring face to face in a contest which rivals the Battle of Helms Deep for sheer epic eventfulness, with more films than ever being released which focus on big-screen adaptations of everyone’s favourite literary heroes. Whilst Marvel waits on hold for the time being, with Spider-Man: Homecoming set for release next month, the ball is currently in DC’s court this week with the release of Wonder Woman, the fourth entry in the so-far much maligned DC Universe, but more importantly, the first real big-screen adaptation of the Amazonian Queen and the first superhero film since Elektra to be solely focused on a leading female character. Adding to the winning formula, Patty Jenkins, director of the Oscar winning serial killer drama Monster, takes the lead of a movie which holds so much in attempting to add a sense of integrity into a franchise which has been slowly dwindling in the shadow of Marvel’s many successes. Thankfully, Wonder Woman is indeed a winning return to form for DC, taking a brilliantly cast leading star and working with a script which adds an element of fun and adventure back into a series which has been sinking into the shallow depths of despair.
Whilst her introduction within the mighty mess of Batman V. Superman was overly rushed and ineffective, Wonder Woman perfectly crafts a backstory for a character who to most audiences may be completely alien, with WW possibly being the first time understanding the nature and background of such an infamous leading comic character. With Gal Gadot in the leading role, the DC Universe has finally hit the first mark in terms of casting, putting to shame recent debacles such as Jesse Eisenberg’s Lex Luther and Jared Leto’s overly wasted Joker, with her physical ability and enviable natural screen presence adding organic depth to a character who is represented more than adequately in Gadot’s shoes. Pairing up with the always reliable Chris Pine, the narrative does reek somewhat of similarity at times however, using the first half of the movie to generate backstory whilst using the latter as a chance to once again conclude with a staggeringly dull CGI boss battle, yet the comedic element which rips throughout the dialogue is effective enough to combat a two hour plus running length, a decision perhaps primarily based upon Marvel’s successes in mixing action, drama and comedy within most of their many releases. If Wonder Woman is the direction in which the DC Universe is heading, sign me up for more, and whilst Jenkins doesn’t really offer anything particularly new to the superhero scene, the brilliance of Gadot in the leading role is the best thing DC has done since Nolan was around. No, it’s not The Dark Knight by a long shot, but Wonder Woman is still a success.