It’s unfortunate that the tension between 1990s superhero-film cheesiness and 2022 superhero-film coolness makes this effort implode. A post-COP27 viewing allowed more sensitivity to how Egyptians oppress themselves with the West’s help. Too bad the film quickly traded in that theme for a third-act battle with a Hellboy knockoff and some fake AMC Walkers. God bless his soul, Pierce Brosnan, 30 years distant from the start of his ’90s James Bond, elevated Black Adam when he could (with fine assists from Aldis Hodge) but couldn’t save it. It’s not hard to see why few wanted a piece of this Rock.
A very smart script–particularly if you are familiar with the decades of source material–that was clear on its intent: to force into being the sweetest, most Harry-Potterish, most inclusive superhero movie ever. Succeeded.
DC finally found its superhero alchemist formula. In this particular case: take the best parts of 2011 Marvel Films’ “Captain America,” but make them five times better. Wrap in a Greek mythological mosaic photographed like a fable and, in the World War I scenes, very old war footage. Add a thrilling, fun, full story–a war film with great characters and dialogue. Don’t try to hide from the racial/sexual dynamics. Mix until it explodes on-screen. Then flip the bird to Marvel Films. 🙂
“Wonder Woman” is the equal of “The Dark Knight,” arguably the greatest Hollywood superhero film ever made. That’s the highest compliment I can give this film. If this fall’s “Justice League” is just three-quarters as good as “Wonder Woman,” DC will have represented itself well.