Wonder Woman, 12A, 141 mins, DC/Warner Bros.
Cast: Gal Gadot, Chris Pine, Danny Huston, David Thewlis, Lucy Davis.
Wonder Woman, immortalized by a spinning Lynda Carter in the seventies kitsch TV series, has now become the talk of Hollywood, after a much protracted, golden-lassoed quantum leap, into the twenty-first century.
Director Patty Jenkins has already made history by being the first female director ever to oversee a multi-million dollar production.
It’s a confident, rich, twisty, stylish, highly enjoyable addition to the superhero canon. Forget gods vs. humans, DC Vs. Marvel has been waging its own needless war for a couple of years now, thanks to DC’s latest incarnation, with the terrific Batman Vs. Superman - much maligned for its doomy posturing, but I thought it was hugely accomplished.
The reception wasn’t much better for Suicide Squad, perfectly enjoyable, but all over the place structurally. But I liked the riskier, edgier take both of these (reboots of sorts) took; albeit never hoping to reach the stirringly crescendoed heights of Nolan and Bale - or original multiplex-charm of Reeve.
This structural meandering is jettisoned - but in creating a more streamlined screenplay - convention mostly - but doesn’t always, favour customary thrills.
Gal Gadot is a very strong choice for the role, but so much was made of the fact that its the first female superhero, that the more her back-story is revealed, the more earnest & rightfully empowering she becomes. The humour doesn't always work - with cliche not meaning irony. (Jasper Carrott’s daughter, Lucy Davis, is given the completely thankless comic relief).
What works far better is the villainy. Danny Huston (brother of Angelica, uncle to Jack (Ben-Hur, American Hustle), son of John and grandson of Walter), is consistently convincing - from Hitchcock to Magic City and Origins: Wolverine. Here, he’s a gleefully maniacal antagonist, working with the disfigured, aptly named Dr. Poison - a genuinely unnerving, extraordinary performance from Elena Anaya - the Joker equivalent of WWI.
David Thewlis steals the show, playing moral ambiguity to the hilt, again (Lupin in Harry Potter, (Earthworm in James And The Giant Peach, Dragonheart).
The speed-ramped action and effects are very impressive, particularly in the first third - set on the Amazonian idyll.
Chris Pine always makes smart choices, and the incomparable Lindy Hemming’s costumes are a delight - similarly to the film - they’re a master-class in intricacy.
Rating: * * *
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