Wonder Woman

For the first time in a long time, I came out of a DC comic book movie feeling ready for a sequel. It feels right, at this actual historical moment, when men made of something less than steel are bumbling around trying to run things. Paging Paradise Island!

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The DC Extended Universe finally finds its balance between troubled philosophy and thrilling action.

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Throughout Wonder Woman there is an earnestness in tone that plays well, and rarely as saccharine.

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Having lived peacefully with her Amazon tribe on the hidden island of Themyscira for thousands of years, Princess Diana (Gal Gadot) is drawn into the murky conflict of World War I after an American spy (Chris Pine) enters her life.

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A thrillingly staged knockout blow for feminism.

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Wonder Woman offers a full cinematic experience from beginning-to-end, which helps it stand out from other films of its kind that worry more about what's to come than the story at hand.

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Can a woman build a better superhero movie? If Patty Jenkins’ Wonder Woman is any indication, the answer is: sort of.

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Patty Jenkins and Gal Gadot breathe some fresh air into the DC film universe.

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Its earnest insouciance recalls the “Superman” movies of the ’70s and ’80s more than the mock-Wagnerian spectacles of our own day, and like those predigital Man of Steel adventures, it gestures knowingly but reverently back to the jaunty, truth-and-justice spirit of an even older Hollywood tradition.

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Wonder Woman shines as a beacon of heroism to give the DCEU a much-needed win.

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DC introduces some much-needed levity to its universe with the uneven Wonder Woman.

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As a longtime Wonder Woman fan, I worried her distinctive edges would be sanded off when it came time for her standalone film.

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This Wonder Woman doesn’t just have to save humankind — she’s also tasked with rescuing the DC cinematic franchise and the reputation of female superhero movies.

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Wonder Woman may not cure all the ills of pop culture’s superhero-saturation syndrome; in fact, in many ways it succumbs to some of its worst excesses. But at least it brings an exhilarating, vicarious kick to the sagging, bagging table.

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All comic book movies are ultimately the same (as all hero’s journey parables are the same). The trick is disguising their models and smelling fresh.

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It’s worth noting here, amongst all the history-warping story of possible armistice or hellishly destructive mustard gas, that Wonder Woman isn’t just femme-inclusive, but open to all nations, colors, creeds, and religions (including pagan, obviously).

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The first stand-alone feature for the ageless princess of the Amazons places her in the midst of WWI, with Gal Gadot in the title role and Chris Pine as American spy Steve Trevor.

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Wonder Woman’s Diana is ultimately an idealized abstraction more than a fully rounded character.

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The DC Universe's Amazon-warrior princess gets the heroic treatment from Gal Gadot – even if the film isn't exactly super.

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Wonder Woman emerges to save the world but risks losing herself.

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Hopes for DC’s plan to deliver a shot of oestrogen to the superhero movie are disappointed in a silly plot that enlists Diana of Themyscira to help win the first world war.

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