Wonder Woman 1984: it is saying something that the best sequence of Patty Jenkins’s sequel is unrelated to the main plot, or to its theme, without the presence of any of its main stars; that something is not at all flattering. The plot is a mess, the main villain is a mess, the secondary villainess is badly used, the action sequences uninspired (when not downright murky and unintelligible; a good number of the action sequences also has unconvincing wirework). The decision to set this in 1984 sounds cheap, a way to make fun of the obnoxious fashion of the time (recreated in all its kitsch glory by costume designer Lindy Hemming) and nothing else. Considering the timeline of this film and the other films from the DC Extended Cinematic Universe, the main character’s emotional journey doesn’t make much sense. Gal Gadot has a luminous smile and the physicality to play the role, but for the most part, the character is simply uninteresting. Kristen Wiig and Chris Pine are merely OK, but better than Pedro Pascal, who is stuck with a histrionic villain. The pace of the film drags, in good part because there’s little to care for with the characters.
Read also: Wonder Woman (2017)