Wonder Woman 1984

Les scénaristes avaient de bonnes intentions avec la motivation à double tranchant de « réaliser n'importe quel souhait ». Il était possible de construire une histoire dense sur cette idée. Cela ne me dérangeait même pas d'attendre 80 minutes avant la première scène d'action après celle d'ouverture. Quand il y a quelque chose à regarder et que c'est bien réalisé, comme Hollywood sait le faire (ce qui était rare en 2020), je suis heureux d'attendre. Cependant, en tant qu'ensemble assez long, WW84 est dramatiquement dispersé, parfois trop lent et parfois trop rapide, et surtout, le traitement de ce thème est naïvement parodique. Je donne tout de même trois étoiles du fait de mon faible pour Gal Gadot, que je préfère encore plus que mon Avenger préféré. Et aussi pour Zimmer, qui est au sommet ici. C'est génial et magnifique, je l'écoute tous les jours et je réécoute certains morceaux 2-3 fois de suite. (06/01/2021)

Dans Wonder Woman 1984, il y a les parties qui, au mieux, atteignent juste la moyenne du genre et puis les parties réductrices qui volent au ras des pâquerettes et empilent cliché sur cliché. Tous les éléments douteux qui seraient pardonnables, par exemple, pour le Superman de 1978 (vu qu’il date réellement de 1978 et qu’il était pionnier dans le genre des « films à BD » modernes) sont ici vendus par les créateurs comme un accessoire rétro-cool alors que ceux-ci n’ont fait que se reposer sur leurs lauriers en pondant un scénario à la noix. Je dirais que les scènes d’action sont l’aspect le plus faible du film. On s’était déjà rendu compte dans le premier volet que Patty Jenkins n’était pas capable de tourner de l’action et que, comme beaucoup d’autres, elle arrosait le tout d’effets spéciaux numériques peu naturels, mais ne mettre au total que quatre scènes d’action courtes et fades dans un énorme blockbuster de 151 minutes, c’est quand même bizarre. Et c’est peut-être justement pour ça que ça m’a moins énervé que dans le premier film. En gros, c’est un film totalement inintéressant à tous les niveaux qui a reçu cette année une attention médiatique largement exagérée par rapport à ce qu’il est réellement. (27/12/2020)

The attempt to repeat the same procedure in a different retro era didn't turn out well. Whether the main scriptwriter of the first installment, Allan Heinberg, voluntarily left to make TV series or had a falling out with the other creators, his name is no longer involved in the sequel, and it shows. The ingredients are the same, but this time that central thread that turned an adventure fairy tale into a legendary spectacle has gone missing – or at least it's been tampered with. I won't lie, I appreciated the old-fashioned first half, which behaves at times like Richard Donner's Superman, and at times like B movies from the same era (which I mean in a good way). This time as well there are no unnecessary interconnected universes established; instead, they follow the path of the comics in a direction that was aimed at decades ago, both in print and on celluloid. And most of the time, it even works in terms of building upon the wartime antics, because if anyone has almost atomic chemistry, it's Gal Gadot and Chris Pine. How you get past the fact that someone is appearing in a foreign body and how that body is then treated remains bittersweet, awkward, but still genuine and believable in terms of romance, where I believed every word and shed more than a tear during any tearful statements like "I will never love again." But that's where the biggest positives end, and I'm not sure about the rest. I have no problem with the nature and direction of the other characters, since it falls within the visual tradition, but I don't know why Pedro Pascal is being forced into Rock Me Amadeus mode, and why there seems to be about thirty minutes too much of him in the plot, more than would have been necessary for a rich portrayal of his motivation. Similarly, the frequent "educating" of the viewer is glaringly obvious, and there could have been fewer moral lessons on gender or consent, not just because they don't fit the genre but also because they are almost clumsily served directly to the camera. And finally, the most unforgivable aspect: the final showdown and its outcome is the weakest part of the film, as if it were present only to bid farewell to the plot in any way necessary. The action is banal and almost invisible due to darkness, the final moral lesson is illogical, the costumes and masks don't work at all, and most importantly, by that point, it has already extended past three hours in duration; as much as I enjoyed the film, I can't understand this decision to leave everything uncut. Patty Jenkins has fallen victim to megalomania syndrome, and it cost Wonder Woman a satisfying conclusion to the trilogy. (19/07/2023)

I was expecting worse based on the tragic reviews, but it's not that bad. The best part is at the very beginning, with the Olympic tournament of the Amazons, and it is captivating. Then the pace slows down significantly, and there is surprisingly little action for a comic book film, and even when it happens, it's not very impressive. But I enjoyed the idea of granting wishes, it kept me from getting bored, though Pedro Pascal failed to impress me with his acting for the first time. Had I seen it at the cinema, I would have left disappointed, but I watched it at home and it turned out to be okay. Story***, Action***, Humor**, Violence>No, Entertainment***, Music*****, Visual****, Atmosphere***, Tension***. 5.5/10. (30/12/2020)

If I never saw another Patty Jenkins movie in my life, I wouldn't mind at all. Not that I was looking forward to her Wonder Woman 1984 or was a big fan of the first film, but those two and a half hours with Gal Gadot went by as fast as, say, the Thirty Years War. And I'm convinced it's the fault of a director who just can't handle blockbusters and action movies. WW1984 has an extremely excessive runtime and unfortunately most of it is completely pointless filler. The 1980s setting didn't make much sense to me, the film could have been set almost any time before Batman vs. Superman. Virtually nothing happens, and when the action does come, it's mediocre at best. The only lighter moments are the romantic scenes where the film can lean on Chris Pine. But the biggest problem I see is that Jenkins clearly wanted to make something that would be reminiscent of the first and second Superman. That is, a naive comic book movie with a simple plot, easily distinguishable good and evil, and lots of hope and optimism. I don't disagree. It's just that the end result is more like Superman 3 and 4, which really aren't good movies. Overall, Wonder Woman 1984 doesn't feel like a big 2020 movie, but like something that was made two years before the first Iron Man, when Hollywood still didn't really know how to handle comic book heroes and heroines and the whole superhero genre was still in search of a new direction. And no, I don't mean that as praise for the old-school approach. Jenkins simply made not an old-school movie, but a movie that feels extremely old. Aside from the nice costumes and production design, I don't really know what to praise about it or why I should recommend it to anyone. (28/12/2020)