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Wonder Woman 1984 is ambitious and messy.

In many ways, the original Wonder Woman could be said to be the first true blockbuster of the Trump era, in much the same way that The Dark Knight was the closing blockbuster of the Bush era and Star Trek was the opening blockbuster of the Obama era. It is not a literal or a chronological distinction, but instead that acknowledges the film’s place as a cultural marker. The original Wonder Woman spoke to the question of what it meant to be good in a world that is not, which resonated in the second half of the decade.

No spoilers.

As such, it feels appropriate that Wonder Woman 1984 will be the last blockbuster of the Trump era. Part of this is simply down to factors outside the film’s control – it was originally meant to release earlier in the year, and Warner Brothers had originally planned for Dune to take the Christmas release slot that ultimately went to it. Still, it’s hard to watch Wonder Woman 1984 without getting a sense that director Patty Jenkins has a lot to say about the current moment. Even insulated by its mid-eighties setting, Wonder Woman 1984 is a movie anchored firmly in the present.

There’s a lot of rich thematic material here and grand ideas. Indeed, Wonder Woman 1984 might just be the first superhero blockbuster that serves as a metaphor for the idea of an economy. However, the execution is a little too broad and too clumsy. Wonder Woman 1984 works best when it is anchored in its characters and giving them room to breathe. It struggles a bit when it tries to position itself as a brand extension of a recognisable franchise.

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Filed under: Non-Review Reviews | Tagged: non-review review, review, wonder woman, wonder woman 1984 | 2 Comments »