Wonder woman Patty Jenkins saves the day for the DCEU

After a string of disappointing attempts from the DC Extended Universe, it seems that real wonder woman, Patty Jenkins, has come to save DC from suicide squad’s and Snyder’s.

Wonder Woman is the first superhero film ever to be directed by a woman, and is shockingly the first female led superhero film in twelve years. It also boasts the biggest-budget for any female-directed film. Providing as a platform for this immense leap forward towards equality in the industry, this superhero origin story demands attention, but not necessarily the amount of merit it will receive outside the boundaries of its social context.

Gal Gadot stars as Diana, an Amazonian princess aching to fight for justice and balance in a world she cares dearly for. When a pilot crashes into their concealed society and informs them of the war raging and consuming Earth, Diana decides to embark on a journey with him to restore peace and tranquility to humanity.

The appearance and general tone of the recent Batman v. Superman: Dawn of Justice is still apparent, and feels rather similar, making it feel like the next logical puzzle piece to build fan anticipation for the forthcoming Justice league. However, Jenkins conducts respectable and noble protagonists, with a charm and nobility that previous DCEU films have sorely lacked. Diana is a strong and exciting heroine who prevails on the screen alongside the competent ability of Chris Pine in the role of Steve Trevor. The surrounding characters are satisfactory, but the film seriously lacks in villainous potential. The antagonists are average, as per usual in superhero movies unfortunately. But, the central characters provide enough passion to ensure the narrative advances smoothly.

The first act, although showcasing the polished visuals one would expect from a blockbuster that costs an estimated $149, 000,000, feels tiresome and familiar. Bordering on the monotonous, it becomes hard to consider how much more positive you may react to the remainder of the film if the exposition made you care a little more. Just as problematic is the films final act, arguably the most important for high-concept cinema. A middling villain materialises to provide a rough and tumble fight sequence with enough launching and eruption to make Zack Snyder himself blush. The audience investment formulated from a cluster of impressive scenes throughout the film inevitably falter as you watch a finale that reminds you all too well of the abomination that was the climax of Snyder’s 2016 ulcerating face-off.

Feeling like DC'S answer to Marvel's Captain America: The First Avenger, Wonder Woman certainly offers audiences a fun and superior alternative to other mind-numbing blockbusters this summer, but bluntly remains a wondrous achievement in the progress of equality, not of the medium.

5/10

Written by Chris Weston