Wonder Woman

Patty Jenkins' Wonder Woman marks a welcome return to the big screen for the director who guided Charlize Theron to an Oscar in Monster way back in 2003. Wonder Woman has been greeted with unprecedented hosannas by audiences and critics alike. I was diverted, but largely underwhelmed by this comic book fare. Since so many of the Marvel And DC features are pap, there is a general desire to embrace comic book films that have even a glimmer of intelligence. Wonder Woman has that glimmer and a nice dash of romance, but is largely by the numbers. 

The rote sections of Wonder Woman are its first and last parts. That the action packed finale is routine is not a surprise, but the first third is a lifeless picturing of the heroine's life among the Amazons. Even chunks of cheese like Xena and Clash of the Titans have more zip to their refashioning of Greek myths. How I longed for a femme version of Ted Raimi's Joxer to show up and enliven the overly solemn proceedings. Happily, the second act perks up and morphs into a fish out of water comedy as our heroine plunges into 1918 London. 

Wonder Woman is greatly helped by the chemistry of its romantic leads. Gal Gadot is a little stiff, but dark haired beauties such as Keanu Reeves and Gregory Peck were much more wooden at the beginning stage of what would prove to be long and fruitful careers. Chris Pine, as he did in Hell or High Water and even the wretched Into the Woods, proves he is one of our most versatile leading men. An asset to any film, Pine here underplays to make sure all eyes are on his leading lady. Unfortunately, as even the children in my multiplex audience complained, the secondary characters are under sketched and unmemorable. Talented folks like Danny Huston, Robin Wright, and David Thewlis hem and haw to little effect. The best scene Jenkins gives us is a woman and man alone on a boat. I hope Ms. Jenkins' next feature has a few less explosions and more personal moments such as this. (6/26/17)