Diana has lived through World War II, the Vietnam War, Woodstock, and the ‘70s, yet somehow we’re to believe she hasn’t explored her bisexuality or gotten intimate with any other partners. Not to sound insensitive but it’s so far-fetched to ask an audience to believe that this superhuman woman - who comes from an island of women and women only - has been grieving for the one man she had sex with over 60 years ago and has never moved on. Diana Prince walked so the NSA could run. You know that cliche where superheroes show up just in time because they have super-hearing? Well, Diana is pretty much Big Sister. I love how director Patty Jenkins tries to incorporate the concept of Big Brother through Diana and that’s how she’s able to stop crimes in the nick of time. If anything, the film emphasizes technology in a bizarre, yet Orwellian sense. The best nostalgia trigger you’re gonna get is a Waldenbooks in a mall during the first act. The film presents a clear and present mid-’80s aesthetic but never for a moment tries to hit you over the head with its era in a cheap manner. One of my major fears going into Wonder Woman 1984 was how much the film would emphasize on the year it’s set in. They just love to trigger your nostalgia with pop culture references via dialogue, soundtrack, or set decoration.
#WONDER WOMAN 1984 REVIEW MOVIE#
Whenever there’s a new movie or television series set in the ‘80s - whether it be Stranger Things, It: Chapter One, or the Valley Girl remake - Hollywood loves to shove the backdrop of the era down your throat in every way imaginable.
0 kommentar(er)
