"SKumm's Thoughts" - WONDER WOMAN

"SKumm's Thoughts"

WONDER WOMAN (2017, 141 minutes, DC ENTERTAINMENT/WARNER BROTHERS)

I realized several things while watching director Patty Jenkins (MONSTER) epic WONDER WOMAN, some of which may sound like jabs at producer and DC directorial favorite Zack Snyder, but, at their core, are no such thing (mostly).

First off—we finally have a DC film that is perfect without a Snyder Director’s Cut.  Which is surprising when you consider that he was one of the writers of the film; clocking in at well over two hours, Warner Brothers must have finally gotten the hint that longer movies sometimes make for better movies.  The slashing of Snyder’s WATCHMEN and BATMAN VS SUPERMAN produced theatrical releases that seemed half-hearted, whereas the longer versions were better told stories, and darn good films.

Secondly: when is a superhero movie NOT a superhero movie?  When the lead character is learning about herself, and not her powers.  Also, Jenkins focuses on Diana’s character more so than her body, which lends more credibility to her heroic status.  The wonderful Gal Gadot in the titular role (stop snickering) is a breath of fresh air in a predominantly male dominated and overly chiseled genre.  She captures the innocence, ferocity, and determination that gets lost with other characters.  Her “Diana” is a hero for the ages, one that learns how to fight before finding out who she really is.  And let me tell you something right off the bat—the actress playing “Young Diana” needs more work.  Like NOW.  Lilly Aspel—believe it or not, this is her theatrical debut—has the same attributes her older self possesses, and to see such an honest performance from a girl so young shows casting choices that are not just smart, but bordering on brilliant.

Thirdly: this is probably the most beautiful superhero film ever captured on celluloid, and I’m not just saying that because of Ms. Gadot.  I’m also not just saying that because of Robin Wright.  Or Connie Nielsen.  It’s because even with the battle scenes, even with the dirty streets of World War I London—the vision that Jenkins and cinematographer Matthew Jensen (the beautifully photographed CHRONICLE and “Game of Thrones”) capture here is a story so visually stunning that you are really in awe of the locations they scouted.  The isle of Themyscira is indeed a paradise, just as much as the torn earth of the Western Front is a gritty, dirty hell on earth.  But from how the film was lit to the way some of the action is slowed down so you can see just how our heroine moves are all brilliant strokes of filmmaking, and add to the beauty of this story.

Lastly (because really, I could go one for about another forty paragraphs), Chris Pine.  This dude is one of the best unheralded actors of this era, and everyone just kind of ignores him.  ‘Oh, yeah, the new Captain Kirk, whatever’.  Uh, pardon me, but did anyone see him in HELL OR HIGH WATER?  How about his uncredited role in STRETCH?  BOTTLE SHOCK, anyone?  It isn’t just his versatility, it is also his presence, the sarcastic looks, the intelligence bubbling in his eyes.  The man is a hell of an actor, and he shows more layers here than an ordinary superhero film deserves.

But again, this is no ordinary superhero film.  It is one that doesn’t need other action heroes, doesn’t need any Avengers or competing super men.  At its heart—and all of the girl power! reviews may not like me for saying this—it is a coming of age film, told through the eyes of a little girl that grows up at exactly the right moment.  Bravo, Warner Brothers, for handing the reigns of this film over to the likes of Jenkins & Co.

Grade: A+