“I, Patty Jenkins, hereby choose spectacle over substance.”
Wonder Woman 1984, co-written and directed by Patty Jenkins is a better instalment for me. Mind you, it’s a better film, in respect to the previous installment, just not a good one. It breeds a beastly ideology at the heart of the film and never learns how to tame it. Talk about themes binding every scene of the film, Patty has probably one of my favourite element involved in her film. What one aspires to achieve is tie a film’s motive, ideology in one noose that explains all the actions and the existence of each and every character. WW84 has the best of all. An old mythological fable reiterated in this period set-piece. And I regretfully inform further that this beauty is not spent upon stretching its potential but simply visiting it, every now and then, as a tourist spot. What is resulted at the end of the day is eye-rolling, question-raising CGI antics instead of squeezing and abusing the concept, the high concept, that they’ve got hold of. A disappointment. But not because of the nullity or the obvious staging of its sets and eras, unlike the previous one, but the chess move that advances Patty’s protagonist Wonder Woman played by Gal Gadot, one step forward. She moves forward but a lot of experience stones remain unturned. We don’t feel she should’ve. She just happen to be. And so she does.