It is deliberately heightened and occasionally unreal, taking on the texture of old photographs or shining memories, an impressive texture that neatly compliments the look and feel of the original Wonder Woman. Cinematographer Matthew Jensen pumps up the colour and saturation to present a particularly vivid vision of the decade of excess – one permeated with bright blues and reds, where gold glistens and pink pops.
The film’s setting is delightfully vivid and rich. There’s a lot to like in Wonder Woman 1984. It struggles a bit when it tries to position itself as a brand extension of a recognisable franchise. Wonder Woman 1984 works best when it is anchored in its characters and giving them room to breathe. However, the execution is a little too broad and too clumsy. Indeed, Wonder Woman 1984 might just be the first superhero blockbuster that serves as a metaphor for the idea of an economy. There’s a lot of rich thematic material here and grand ideas.
#Wonder woman 1984 review movie#
Even insulated by its mid-eighties setting, Wonder Woman 1984 is a movie anchored firmly in the present.
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. 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.
As such, it feels appropriate that Wonder Woman 1984 will be the last blockbuster of the Trump era.
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