As far as DC Comics is concerned, Wonder Woman is something of a saviour on a superheroic level. After the occasionally brilliant but ultimately flawed start in their quest to revamp the cinematic universe with Man of Steel (2013), DC films had grown progressively worse. From heavy-handed attempts at making Batman v Superman (2016) dark and gritty, to cringe-worthy dialogues where sons uncharacteristically call their mothers by their first name in order to inadvertently spark an epiphany in a batty psychopath who is about to commit murder, to Suicide Squad (2016) where the filmmakers apparently took the film’s title as a challenge as far as the mental wellbeing of the audience was concerned, DC films were seemingly heading for the void. Understandably, one had the same anxious feeling at the announcement of a new film as one does before Pakistan takes on India in a cricket match.

Thankfully, Wonder Woman is … well … wonderful. When initial praise hit social media, I wondered — sorry, last pun — if it was actually a top-drawer film, or if the acclaim had been powered by relief because the bar had been set so low. No, Wonder Woman is truly a superb film and I’d rate it behind Richard Lester’s cut of Superman II (1980) and Christopher Nolan’s last two films from the Dark Knight trilogy as far as live-action DC films are concerned.

One of the most heartening things about it is that it doesn’t ape Marvel’s approach in response to the criticism. Wonder Woman still retains shades of Zach Snyder’s films, though thankfully exercises restraint. What’s more, it adds spirit, heart, humour and optimism by drawing from DC’s cinematic roots, clearly seeking inspiration from Richard Donner and Richard Lester’s Superman films. There are similarities with Captain America First Avenger (2011) as you may have noticed when the first trailer debuted, but I feel that some of these parallels were unavoidable considering how the origin stories of the two superheroes are quite similar. In fact, the decision to shift the setting from World War II to World War I may have been made to avoid more comparisons than necessary.

But I digress.

Wonder Woman sums up as an emotional viewing experience

Aside from a good script, Wonder Woman is an emotional viewing experience because of the performance of its two leads. Gal Gadot (Diana Prince/Wonder Woman) is outstanding in her role as a powerful Amazon who grew up isolated from the outside world and slowly comes to grips with the nature of man. In a nuanced performance, Gadot displays the sort of endearing naivety that made Christopher Reeve such an iconic Clark Kent. When her character loses all patience for the politics of man in the face of a brutal war, the vacuum is filled by restrained rage. Played by another actor, the characterisation could have felt clichéd, but Gadot is a natural in the role.

Usually, the supporting performances in origin stories such as this aren’t particularly remarkable, but Chris Pine (Steve Trevor) shines. The chemistry between Pine and Gadot is excellent, and their relationship is subtly touching. When Wonder Woman’s anger needs an anchor, we don’t roll our eyes at the exchanges between her and Steve Trevor. There is an understated measure to the performances in Wonder Woman and you have to credit Director Patty Jenkins for orchestrating the most memorable on-screen pairing in a superhero film since Lois and Clark.

The first act in Wonder Woman is very good, while the second is phenomenal. In particular, a scene at No Man’s Land stands out where Diana shows the beginnings of her superhero self, in a pulsating and emotional action sequence that left me with goosebumps. I suspect I’ll be watching this bit repeatedly on YouTube like I do Tony Stark’s return to Afghanistan in Iron Man (2008). But like other superhero films before it, Wonder Woman offers a rather formulaic third act where the proceedings crescendo into a loud and customary climax. Though this finale isn’t exceptional, it is admittedly a few cuts above such sequences in other origin stories because of the real emotional current felt through the waves of action.

There have been some complaints that Wonder Woman isn’t a feminist film (even though it never sold itself as one). Well, consider that Wonder Woman has finally given us a butt-kicking female superhero film that is critically acclaimed and smashing box office records. Its director, Patty Jenkins, is the first woman to break the 100 million dollars domestic opening glass ceiling, which serves as a sobering reminder of the massive misrepresentation in Hollywood for female filmmakers.

Equally sobering is the thought that after Jenkins made a sensational directorial debut with the critically acclaimed Monster (2003), she didn’t find work as a film director until now, 14 years later. And if feminism is about equality, then by leveling the playing field ever so slightly, Wonder Woman certainly does something for the cause, at times in breathtaking fashion.

Rated PG-13 for violence, action and some suggestive content

Published in Dawn, ICON, June 11th, 2017