Discussion of a sequel began shortly after the release of the first film in June 2017 and the decision to proceed was confirmed the following month. Principal photography began on June 13, 2018, with filming taking place at Warner Bros. Studios, Leavesden in England, as well as the District of Columbia and Northern Virginia in the United States, London and Duxford in England, Tenerife and Fuerteventura in the Canary Islands, and Almería in Andalusia, Spain. Production wrapped on December 22, 2018, after a six-month shoot, with additional filming in July 2019.
Wonder Woman 1984 premiered on December 15, 2020, via the DC FanDome virtual platform. It was theatrically released in the United States by Warner Bros. Pictures on December 25, 2020, and also made available to be streamed digitally on HBO Max for a month before it will go to premium video on demand. In international markets that do not have HBO Max, the film was theatrically released beginning on December 16, 2020. It was praised for its "escapist qualities" and Jenkins' take on the 1980s, but many critics found it "overindulgent or cliché". It has grossed $85 million worldwide, and became the most-watched straight-to-streaming title of 2020. A sequel is in development, with Jenkins and Gadot returning.
Cast:
Gal Gadot as Diana Prince / Wonder Woman
Lilly Aspell reprises her role as young Diana from the 2017 film.
Lambro Demetriou and Jonny Barry appear as young Maxwell "Max Lord" Lorenzano at ages 8 and 15, respectively.
Robin Wright as Antiope
Connie Nielsen as Hippolyta
Additionally, Lucian Perez appears as Alistair, Maxwell's son from his divorce; Amr Waked appears as Emir Said Bin Abydos, the ruler of oil-rich Bialya; Kristoffer Polaha appears as the man whose body Steve inhabits (credited as "Handsome Man"); Natasha Rothwell appears as Carol, Barbara's boss at the Smithsonian; Ravi Patel appears as Babajide, a man who keeps documents of the Dreamstone's history; Gabriella Wilde appears as Raquel, Maxwell's assistant; Oliver Cotton appears as Simon Stagg, Maxwell's corporate investor; Kelvin Yu appears as Jake, Barbara's colleague at the Smithsonian; and Stuart Milligan appears as the President of the United States.
Lynda Carter, who played the titular heroine in the 1970s television series, makes a cameo appearance in the end credits as Asteria, a legendary Amazon warrior who anciently possessed the powerful winged suit of armor. Gadot's husband, Yaron Versano, and their two daughters, Alma and Maya, make brief appearances near the end of the film.
In her youth, Diana Prince participates in a multi-stage athletic competition on Themyscira against older Amazons overseen by Queen Hippolyta. After falling from her horse, Diana takes a shortcut to catch up to it and resumes the competition. Just before she wins, her aunt Antiope removes her from the competition, lecturing that "no true hero is born from lies".
In 1984, 66 years after the first film, Diana works as a senior anthropologist at the Smithsonian Institution in Washington, D.C., specializing in ancient Mediterranean civilizations; Diana also secretly fights crime as Wonder Woman. At work, she meets new employee Barbara Ann Minerva, an insecure woman who comes to idolize and envy Diana. After Wonder Woman foils an attempted robbery, the FBI asks Barbara to identify a cache of stolen antiquities from the robbery. Both Barbara and Diana notice that one object — later revealed to be the "Dreamstone" — has a Latin inscription.
Diana unknowingly uses the stone by wishing that her deceased lover Steve Trevor was alive; his soul then returns and inhabits another man's body. Later, after Diana saves her from an assault, Barbara wishes upon the stone to become like Diana, inadvertently attaining Diana's superpowers and godhood. Failing businessman Maxwell "Max Lord" Lorenzano visits the Smithsonian under the guise of a wealthy donor, secretly coveting the Dreamstone in hopes of saving his failing oil company. During a gala at the Smithsonian, Max seduces the unwitting Barbara, who is taken by his charm to gain access to her office and steal the Dreamstone. He later wishes to become the embodiment of the stone and gains its power to grant wishes while also having the ability to take whatever he desires from others.
Steve and Diana steal a plane and follow Max Lord to Cairo. Max becomes a powerful and influential figure while leaving chaos and destruction in his wake as his powers trigger worldwide instability and conflict. Barbara, Diana, and Steve later discover that the Dreamstone was created by Dolos, the god of lies, treachery, deception, and mischief. The stone grants a user their wish but exacts a toll. The only way to reverse the exchange is by renouncing the wish or destroying the stone itself. Steve realizes his existence comes at the cost of Diana's power, while Barbara's newfound life has drained her humanity; both women are unwilling to renounce their wishes.
Max learns from the U.S. President that the nation's satellite system can broadcast signals globally. Max uses it to grant wishes to the entire world while regaining his now-deteriorating health. Diana and Steve confront him, but Barbara joins forces with Max to prevent Diana from impeding him. Steve convinces a tearful Diana to renounce her wish and let him go, restoring her strength while gaining the ability to fly. She returns home and dons the armor of the legendary Amazon warrior Asteria. She then battles Barbara, who has further mutated into a cheetah-like creature after wishing to become an apex predator.
After defeating Barbara, Diana confronts Max at the TV station and uses her Lasso of Truth to communicate with the world through him, convincing everyone to renounce their wishes. She also shows Max visions: first of his own unhappy childhood, then of his young son, Alistair, wandering the streets terrified and crying for his father, amid the chaos Max created. A tearful Max renounces his wish and rushes to find Alistair. Reunited, Max repentantly promises to be a better father.
Sometime later, Diana meets the man whose body Steve possessed, while she continues to watch over the world. Meanwhile, in a mid-credits scene, Asteria is revealed to be secretly living among humans, much like Diana.
I'm sure that I may have missed some points, but ScreenRant has a hilarious video parodying the sales pitch to the Warner Bros. executives.
Robin Wright as Antiope
Connie Nielsen as Hippolyta
Additionally, Lucian Perez appears as Alistair, Maxwell's son from his divorce; Amr Waked appears as Emir Said Bin Abydos, the ruler of oil-rich Bialya; Kristoffer Polaha appears as the man whose body Steve inhabits (credited as "Handsome Man"); Natasha Rothwell appears as Carol, Barbara's boss at the Smithsonian; Ravi Patel appears as Babajide, a man who keeps documents of the Dreamstone's history; Gabriella Wilde appears as Raquel, Maxwell's assistant; Oliver Cotton appears as Simon Stagg, Maxwell's corporate investor; Kelvin Yu appears as Jake, Barbara's colleague at the Smithsonian; and Stuart Milligan appears as the President of the United States.
Lynda Carter, who played the titular heroine in the 1970s television series, makes a cameo appearance in the end credits as Asteria, a legendary Amazon warrior who anciently possessed the powerful winged suit of armor. Gadot's husband, Yaron Versano, and their two daughters, Alma and Maya, make brief appearances near the end of the film.
*** WARNING: SPOILERS AHEAD!!! ***
Plot:
In her youth, Diana Prince participates in a multi-stage athletic competition on Themyscira against older Amazons overseen by Queen Hippolyta. After falling from her horse, Diana takes a shortcut to catch up to it and resumes the competition. Just before she wins, her aunt Antiope removes her from the competition, lecturing that "no true hero is born from lies".
In 1984, 66 years after the first film, Diana works as a senior anthropologist at the Smithsonian Institution in Washington, D.C., specializing in ancient Mediterranean civilizations; Diana also secretly fights crime as Wonder Woman. At work, she meets new employee Barbara Ann Minerva, an insecure woman who comes to idolize and envy Diana. After Wonder Woman foils an attempted robbery, the FBI asks Barbara to identify a cache of stolen antiquities from the robbery. Both Barbara and Diana notice that one object — later revealed to be the "Dreamstone" — has a Latin inscription.
Diana unknowingly uses the stone by wishing that her deceased lover Steve Trevor was alive; his soul then returns and inhabits another man's body. Later, after Diana saves her from an assault, Barbara wishes upon the stone to become like Diana, inadvertently attaining Diana's superpowers and godhood. Failing businessman Maxwell "Max Lord" Lorenzano visits the Smithsonian under the guise of a wealthy donor, secretly coveting the Dreamstone in hopes of saving his failing oil company. During a gala at the Smithsonian, Max seduces the unwitting Barbara, who is taken by his charm to gain access to her office and steal the Dreamstone. He later wishes to become the embodiment of the stone and gains its power to grant wishes while also having the ability to take whatever he desires from others.
Steve and Diana steal a plane and follow Max Lord to Cairo. Max becomes a powerful and influential figure while leaving chaos and destruction in his wake as his powers trigger worldwide instability and conflict. Barbara, Diana, and Steve later discover that the Dreamstone was created by Dolos, the god of lies, treachery, deception, and mischief. The stone grants a user their wish but exacts a toll. The only way to reverse the exchange is by renouncing the wish or destroying the stone itself. Steve realizes his existence comes at the cost of Diana's power, while Barbara's newfound life has drained her humanity; both women are unwilling to renounce their wishes.
Max learns from the U.S. President that the nation's satellite system can broadcast signals globally. Max uses it to grant wishes to the entire world while regaining his now-deteriorating health. Diana and Steve confront him, but Barbara joins forces with Max to prevent Diana from impeding him. Steve convinces a tearful Diana to renounce her wish and let him go, restoring her strength while gaining the ability to fly. She returns home and dons the armor of the legendary Amazon warrior Asteria. She then battles Barbara, who has further mutated into a cheetah-like creature after wishing to become an apex predator.
After defeating Barbara, Diana confronts Max at the TV station and uses her Lasso of Truth to communicate with the world through him, convincing everyone to renounce their wishes. She also shows Max visions: first of his own unhappy childhood, then of his young son, Alistair, wandering the streets terrified and crying for his father, amid the chaos Max created. A tearful Max renounces his wish and rushes to find Alistair. Reunited, Max repentantly promises to be a better father.
Sometime later, Diana meets the man whose body Steve possessed, while she continues to watch over the world. Meanwhile, in a mid-credits scene, Asteria is revealed to be secretly living among humans, much like Diana.
The Verdict:
When WW84 dropped on HBO Max at 12PM EST on Christmas Day, I was one of the first people to fire up the app and hit play to watch this like many people that day.
And boy, was I let down with this film...
It's no secret that I wasn't a fan of Patty Jenkins' work on the original Wonder Woman film, but I understood the praise for it and its cultural significance. I won't knock the film for that much. The thing that I can't stand even to this day is this notion/idea that a man can't understand the message of these two films unless they have a vagina. Seriously, I have seen that exact wordage quoted on multiple articles, message boards, and across social media. I don't have an issue with feminism, but this film goes in so hard into that mindset to the point that Wonder Woman can't do anything without the love of her life while every other man (outside of Steve Trevor) in this film is depicted in some sort of negative connation. The best offender of this in action is the action sequence in Egypt where she flips a tank over with ease one second then mere moments later that she can't stop another until Steve Trevor gave the assist. There's a moment like this throughout the film until after she renounces her wish.
I could excuse that but there's so many potholes and inconsistences in this film that it makes Batman v. Superman: Dawn of Justice and Suicide Squad look like strokes of genius in comparison.
If that wasn't bad enough, this film just drags on and on and ON until it kind of starts in its third act. The film clocks in at roughly two hours and half hours. An hour of that is where essentially NOTHING happens to contribute to the point and only serves to add more cringe material to pad up this film's runtime.
As much as I liked the flashback to Themyscira to open the film, it did nothing to affect the events later in the film. That flashback only served as a meager excuse to bring back one of the highlights that defined the original Wonder Woman film - the display of female empowerment on display in Themyscira. Patty Jenkins used that to bring back Robin Wright (Antiope) and Connie Nielsen (Hippolyta), along with a laundry list of female athleticism to don those Amazonian suits of armor for this short opening scene. This flashback ended with Diana allegedly learning the lesson of using shortcuts to get ahead in life or rather cheating to win. If she doesn't already have enough aces in the hole from being the Queen's daughter along with their father being Zeus himself, then why in the blue hell does she need to cheat at anything to win? That lesson was already lost on deaf ears by the time the film fast forwards to 1984. It was painfully obvious that Diana didn't learn a damn thing from that ordeal as a child when she was willing to cast all reason and logic aside just to have Steve Trevor back in her life. Damn everyone else and who else that could possibly affect with her selfishness.
Another bold question... Diana stops the burglars in the present day portion of the film at the mall to start things off, but why wasn't the jewelers' shady dealings behind closed doors ever brought up again? It seemed like such an interesting piece of information to disregard as a throwaway scene.
The overall theme of this film is the good and bad that comes with wish fulfillment. The MacGuffin (a modern term coined online for an object that drives a film's plot forward in a cliched manner) of this film is a stone that is somehow acquired by the anthropologist team at the Smithsonian Institution that both Barbara Minerva and Diana both work for that grants one wish of those who comes into contact with it. It first grants Diana's subconscious wish of bringing Steve Trevor back to life then later grants Barbara's wish to be "more like Diana" - in terms of beauty and superhuman powers. Maxwell Lord then somehow learns of the stone and uses it to become essentially this "Dreamstone" itself, granting wishes to anyone he comes in contact with. This creates the conflict of this film as Lord goes around granting everyone's wishes while manipulating the "side effects" of these wishes as every wish, no matter how noble they may be, have horrible consequences. Diana's wish brought back Steve Trevor in the body of an innocent man (how fucked that whole ordeal is another bag of shit altogether...) while also causing her powers slowly fading away throughout the film. Barbara's wish gave her the beauty and power that she wanted, but at the cost of her humanity and compassion for others. Lord's wish to become the stone is at the detriment of his own health and by the end of the film, it leaves him even more estranged and distant from his own son. Lord specifically points out that one person can only receive the benefits from ONE wish as the film proves on multiple occasions that he is unable to grant more than one wish from any individual, but somehow at the film's climax, he's able to grant a second wish for Barbara Minerva to transform her into his own bestial guardian (an "apex predator" if you will) during the film's finale.
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| The sad part of the matter is that Kristen Wiig isn't bad looking to start with, even with glasses, so the whole nerd to knockout trope was lost to begin with. |
This film uses the Barbara Ann Minerva version of the Cheetah, portrayed by Kristen Wiig, and while I had no issues with her performance, even though more people are still shitting on her from her similar role that she played in the all-female Ghostbusters reboot a few years ago. She plays the lovable geeky/nerd girl fine and it worked here for the few minutes that it lasted before she was granted her wish. As she continues to reap the rewards from this wish throughout the film, she gets more aggressive in nature and abandons her gentle tendencies to be driven mad with power. She aligns herself with Lord as she essentially becomes Diana's polar opposite. Where Diana is desperate to hang onto the memory of Steve Trevor and won't let this farse of him go for she could regain her powers, Barbara is desperate to hang onto this false sense of power that she has acquired by being beautiful and confident while refusing to let that go and return back to her nerdy self.
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| It's too bad that we didn't get more time with these women standing off as polar opposites of each other. |
It's one of the few great moments of this film to see them stand-off in the White House, where we are matched with a good vs. evil Wonder Woman. It's really unfortunate that they completely shit the bed with her character a few minutes later with her awkward transformation into the Cheetah (even though the film NEVER calls her by that name), rendered in horrible looking CGI that would make that Cats movie from a while ago look great in comparison. That's why that fight scene was so dark too for audiences wouldn't be able to make out how bad that character looked. (Laughs) Patty Jenkins is 2 for 2 in terms of shitty climatic battles in these two Wonder Woman films - first with Ares and now this shit with Cheetah.
Maxwell "Max Lord" Lorenzo differs in this iteration from the comics and other mediums, such as his recent portrayal on the CW/CBS's Supergirl. I couldn't help but laugh at Pedro Pascal's portrayal here as there were moments where I could hear nothing but Trumpisms and others where it sounds essentially like he was still reading lines from The Mandalorian. If Hollywood ever wanted to do a "proper" reboot of RoboCop, I could totally see him as one of OCP's dirty politicians or various "oil salesmen" on those parody commercials in that continuity. I remember reading various articles prior to this film's release that Pedro Pascal stated that the comparisons to then-President Donald Trump were not intentional, but you cannot watch this film and not see it. There are a lot of points, especially at the heights of Lord's delusional behavior, that precisely mirrors the former President's irrational behavior.
I'm not going to lie, but Pascal's performance makes for a charismatic villain, but he makes for an underwhelming one by the time the film comes to a close. It's really a double-edged sword. Lord is known to play both sides of the coin when it comes to heroism and villainy in the comics and we saw that here too. For everything that he did while acting as the Dreamstone, he still had enough good in himself to see the error in his ways and renounce his own wish to save his son - the only person who liked him just the way he was when he had nothing. It's just a darn shame that Patty Jenkins and the crackpots who wrote this screenplay don't have any sort of an imagination.
Lord and so many others had the Dreamstone's infinite power at their disposal but no one thought of just wishing Wonder Woman dead at their feet?
Some suggestions in that scenario...
"I wish this bitch would leave us alone..." - White House Secret Service guards
"I wish I had something that could beat this chick..." - TV station guards
(Laughs) Or how come Bruce Wayne didn't wish for his parents back in this continuity? That would have made for one hell of an Easter Egg. It was hilarious when they did it in Justice League Unlimited.
This whole Dreamstone ordeal screws up the DCEU continuity even more with a lot more plot holes between this film and Batman v. Superman: Dawn of Justice and Justice League.
At the end of the film, everyone renounces their wishes (why should they really though?) and the nukes and walls disappear "Phantom Menace" style (a trope that the Marvel Cinematic Universe is often heavily criticized for), but the fact of the matter, the ENTIRE world remembers this incident and are dimly aware of Wonder Woman's presence in this world. Remember that it was firmly established in Batman v. Superman that she had remained "hidden" from the world until present day DCEU. Sure, she went out of her way to knock out a few cameras in a few fight scenes in this film, but the public were aware of her existence. I seriously doubt that her existence would be completely swept underneath the rug after roughly two decades when Superman made his existence public. That's just asinine to think of, especially after the global awareness that was established here.
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| Busting up a few surveillance cameras is all well and good, but you have hundreds of eye witnesses of your exploits here, Diana. People aren't just going to forget seeing an Amazonian warrior goddess beating the tar out of some criminals. |
I'm no expert on the character of Wonder Woman, but I know a shitty depiction of her when I see it. The best thing Patty Jenkins and Gal Gadot did in the first film was highlighting and showcasing Diana's love for all living things that defined her heroism. The original film's "fish out of water" theme took that and ran with it to make audiences fall in love with this live-action depiction of this iconic heroine. That's why I understand why a lot of people have "blinders" up about any sort of negativity or any negative connotations about these films whatsoever. On the other hand, I don't sympathize with those people either who hide behind the delusion that this depiction of Wonder Woman does no wrong within Patty Jenkins' jaded vision.
Explain to me this... Why would Wonder Woman be so selfish to put her own wants over the needs of so many, especially at the cost of this world that she loves so much? She foolishly casts aside her godly powers in order to keep the farce of Steve Trevor's revival alive until he talks enough sense into her until she is essentially forced to renounce her wish during the film's climax. She was willing to die to keep that lie alive. One could excuse her selfishness in this film as she is one of the only people who never spoke their wish aloud, but it's selfish nonetheless - something that I couldn't ignore as very uncharacteristic for her character. She comes off as foolish or rather stubborn in her ways as how Batman comes off in both Batman v. Superman: Dawn of Justice and Justice League.
I won't deny that Diana, or rather Gal Gadot, shows more range of emotions in this film than she did in the first film, but why did we have to rehash the "fish out of water" theme from the original film with Steve Trevor? If they wanted to keep Chris Pine around then they shouldn't have killed Steve Trevor off in the first place. This film just makes that decision even stupider in hindsight.
Speaking of Steve Trevor, can we talk about how fucked up that it was that he was occupying the body of another man? Diana was completely fine with him stealing the life of an innocent man for she could have her boyfriend (of whom she maybe spent a week or two with in the previous film) back? It was even more messed up that Diana was having sex with this guy while Steve Trevor was inhabiting his body and living in his apartment while everyone else sees her with this other guy instead of Steve.
| I'm convinced that Patty Jenkins just saw a photo of Diana's Kingdom Come golden armor that seems to pop up in the comics every few years one way or another and said, "I DUNNO WHAT THIS IS OR WHAT SENSE IT WOULD MAKE IN MY FILM BUT WE GOTTA GET THIS IN THE MOVIE SOMEHOW BECAUSE IT LOOKS SO GODDAMN COOL!" |
Another question for my readers... If Wonder Woman had Asteria's Golden Eagle armor had the entire time throughout the film then why the fuck didn't she use it until the film's climax when she knew it was bulletproof and could protect her from harm when she was losing her godly powers?
(Laughs) I can't forget about the moment where Diana and Steve are in the airplane together though... I gave them a pass on Steve somehow having the knowledge to fly a modern airplane after not flying one since World War I, but I drew the line at the stupidity of Diana being able to make the airplane invisible when she was already losing her powers this far into the film's runtime. That fact that she could even use that ability that was never brought up again and one that she said that she clearly didn't master was downright comical that she pulled this feat off just because the plot demanded it to move forward.
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| If Wonder Woman can fly on her own, then why does Diana need to swing from lighting bolts? |
Here's a better question though... Couldn't Diana fly in the last film? If so, then why the fuck would she need a goddamn airplane in the first place? Between the first film, this one, Batman v. Superman: Dawn of Justice, and Justice League, it seems like every director has selective memory when it comes to her utilizing that ability.
I can't condone that Diana blatantly kills Cheetah in the film's climax. One can argue that Barbara brought it onto herself, but when that live wire hit the pool of water that they were in, Diana stood there and held her in that water until she was incapacitated. Barbara would be fine after all of the wishes were renounced in the film's climax, but who knew that would have magically brought her back to life? There was no way that Wonder Woman would have had the foresight that Barbara would revert back to her human self after that and be perfectly fine. To say that the film goes out of its way to protect innocent bystanders, Wonder Woman didn't hesitate to engage in lethal force in that scenario. To say that Diana was standing in that water wearing a goddamn metallic, yet highly conductible suit of armor and wasn't fried to death along with Cheetah is puzzling too.
(Sighs) Between the waste of Cheetah here, Max Lord, and even Simon Stagg earlier in the film, it seems like a massive waste of time for these characters. Dr. Poison was criminally under-utilized in the first film and the Cheetah was regulated to a minor appearance here. Given the ending of this film, it's very unlikely that we will see that character - or at least that version of her - again in this continuity anyway. Same goes for Max Lord.
I did enjoy the minor Easter Egg of Lynda Carter appearing in the mid-credits scene as Asteria though. That was a nice little callback for her.
I will applaud this film for one thing though. It's the first and only DC Extended Universe film that resolved it's core conflict without violence. Plus, this film went out of it's way for no innocent lives/casualties would be avoided. That "destruction porn" as how most people referred to the utter destruction of Metropolis during the climax of Man of Steel was how a lot of people frowned heavily on the DC Extended Universe and the films that followed - including this one - go out of their way to remedy that mistake. (Laughs) Remember that they used the destruction of Metropolis as the catalyst for the conflict between Batman and Superman in Batman v. Superman: Dawn of Justice? That hesitance for violence in this film proves to be a costly mistake though. All of the fight/action sequences were all revealed in the trailers for this film, outside of one minor sequence. For a film clocking in at roughly two and a half hours, you would think that they would use some of that runtime for a little bit more action, but nope. It's almost to the point where I think Patty Jenkins is allergic to action scenes due to the sheer lack of them in this lengthy film.
I wanted to like this film - I really did, but at the end of the day, it turned into another misstep for the DC Extended Universe. And here I thought they were finally turning this ship around following the successes of Aquaman and Shazam!, but nope. The failure of this film is merely going to put more pressure onto Warner Bros. to take more drastic measures to potentially fix this continuity. Justice League: The Snyder Cut is going to be a temporary Band-Aid, even if it's regarded as a success following so much hype and anticipation. If that film is anything short of brillaint then I think all remaining faith for any sort of DC Comics-based cinematic universe is out of the window.
As of this posting, Patty Jenkins and Gal Gadot are already confirmed to direct and star in a third Wonder Woman film, with two more potential sequels and/or spin-offs to boot. Jenkins is also pegged to direct a Star Wars series for Lucasfilm/Disney as well. I'm sorry but I don't see her brilliance at all. Cool, you want to have more female directors, but that doesn't excuse her from having stupid ideas and mismanaging these characters. Maybe she can prove me wrong with another sequel, but after WW84, I'm convinced that these superhero films isn't her strong point. I'm definitely not racing out to see the next installment on release day.
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| Patty Jenkins expects viewers to be in awe at the pomp and circumstances of this film and completely dismiss its shortcomings for another dose of her own brand of so-called female empowerment when this film does little more than to "empower" the top brass at Warner Bros. and Jenkins' own egos that this plot was a very good idea in the first goddamn place. |
Watch It or Don't Bother?
If you enjoyed the first Wonder Woman film by Patty Jenkins, then you're not going to see anything wrong with this entry that continues Diana's adventures, but for everyone else, I humbly suggest that you stay far, far, far away from this one.
Sure, it's free to watch on HBO Max, but by the time this was over and all said and done, I wanted those two and half hours of my life back. It's hard to hate on Gal Gadot's bright smile that could melt the hearts of even the coldest of hearts and the stellar ensemble cast, but the writing for this film is utter garbage.
Wonder Woman 1984 stands as another example of the lack of proper planning and long-term storytelling that Warner Bros. and DC Comics have for the DC Extended Universe. In the grand scheme of things, this film does more to add more plot holes and inconsistencies to an already muddled up continuity.
If you want to see a better Wonder Woman film, there's two animated feature films that are definitely worth your time than giving this your time of day.
