The epic superhero, whether in print, animated films, TV series or live-action films, always tends to respect principles. Twenty years ago it was easy to run into productions where the good was good, the bad was bad and the characters in between were clichés; it was certainly easier to respect these principles. Now, however, everything is different: the anti-hero is no longer so rare, the alternative route becomes so busy that you have more cars than a metropolitan artery per hour and it is much easier to do something that can be defined as "different". However, if they are called principles, there will be a reason. Obviously we are not making a short-sighted speech, perhaps concluded with a "comic is better", but simply sometimes, to try to give shape to a different experience, we find ourselves coming out with broken bones. Wonder Woman 1984 unfortunately it makes just this mistake. Despite the many advantages that the film has, directed by Patty Jenkins and with Gal Gadot in the role of Wonder Woman, there are a couple of things that unfortunately don't work, perhaps because you think badly in the beginning, or maybe because you think to offer the right spectacle on the big screen of a cinema.
The lasso of pretense
In the entirety of the approximately 2 and a half hours required to view Wonder Woman 1984 it is possible to see a huge underlying problem: its being a pretext. The plot revolves around Diana, as always, this time about her adventure linked to the 80s. The plot, in fact, without too many frills, continues straight like a train passing near two not very memorable characters (fortunately saved by the acting skills of the two), or Barbara Ann Minerva (Kristen Wiig) e Maxwell Lord (Pedro Pascal), to a return of Steve Trevor (Chris Pine) and a series of fairly obvious, albeit amusing, events. What more than anything else is annoying in the film is summed up precisely in the cause-consequence relationship, a factor that in cinecomics does not take on too much importance but that in this film reaches negative peaks that are more unique than rare, presenting many situations that perhaps would have needed to at least a coherent explanation, rather than being limited to a long and easy sequence of "why yes". Without ruining the plot, in practice most of the events that will follow one another in the course of production are ends in themselves, they do not alter the status quo much (except for some dynamic Diana-Wonder Woman) and on several occasions they leave a bitter aftertaste. in the mouth.
Saviors of the film are Gal Gadot, Kristen Wiig and Pedro Pascal, three true pillars of Wonder Woman 1984 who, with their interpretations, at least manage to make the characters interesting to discover, regardless of their choices. In fact, if the narrative plot will often lead them to perform actions that are really not very sensible, the actor's work on display brings to light characters who, regardless of everything, are realistic, well structured and coherent. In short, what transpires in Wonder Woman 1984 is its being a filler, an intriguing little story that aims to tell an uninteresting side of the character: unfortunately these fillers tend to be dull, as long as the plot is supported by valid concepts, and WW84 it just fails in its goal of lightening the story. In fact, if we could also talk about some particularly profound theme that in the film is treated with fantastic words (obviously also thanks to the acting of the main characters), the whole castle collapses when a break in the suspension of disbelief occurs, due to some event, some meager explanation without coherence or, even worse, some technically not brilliant moment.
Wonder Woman 1984, in all non-cinemas
If, in fact, surely not having arrived at the cinema has affected the movie quality (in projection everything looks better), Wonder Woman 1984 is the antithesis of itself: some excited phases of the film show a Diana able to do something unique, juggle dynamically and be able to give an unparalleled visual impact, qualitatively superior to any other film released in the DC. If this could give you the right adrenaline rush, patchy scenes will take care of it to make you lose interest; some parts of the film in fact show a decidedly antithetical quality compared to others, less accurate and in some cases showing details out of place, situations at the limit of the normal and, worse still, flanked by props so badly managed as to be pathetically evident in the eyes of the spectator (like a mannequin instead of an actor).