Wonder Woman lives in the vibrant 1980s under the guise of an expert on ancient artifacts. She keeps a low profile and tries not to draw too much attention. But when Maxwell Lord and the superwoman Cheetah come into possession of an ancient artifact that gives them immense power, Wonder Woman has no choice but to come out into the open. The film starts well with Diana as a child dealing with a big action scene. Then, little by little, the film fades until it becomes slow, redundant and boring. In its skeletal structure, this film is full of good intentions, good messages and relevant themes. The problem is that it fails to convey any of this: the good intentions are watered down and adrift in a two and a half hour soup where the excesses, the clichés, the useless scenes throw sand in the eyes of those who, sincerely, , hoped for a worthy sequel to the first film of 2017. In the first Wonder Woman, in contrast with the dramatic historical setting, Diana's qualities and positivism stood out clear and bright above the darkness of that historical moment. The film's messages were also clear. Wonder Woman 1984 is a cauldron of poorly developed ideas and useless sub-plots. The main problem lies in the writing, as well as in the ambitions of the director-writer Jenkins, who wanted to overdo it, and who thought that a budget of 200 million dollars could make up for the gaps and boringness of the script. But special effects and grandiose scenes cannot hide its paucity, and the light comedy stupidity of much of the film. The useless pomposity does nothing but clash with the profound (but still too watered down) messages that the film would like to convey. The main antagonist keeps his acting constantly over the top (precisely informing the comedy scenes), and is littleRead all
Ruben Maria Soriquez 
Alessandro Castrini 
