Like the sequel to Wonder Woman of 2017, “Wonder Woman 1984”, directed by Patty Jenkin, is unquestionably ambitious. Look to expand the myth of Themyscria, the hogar of the Amazon; continue the story of Diana Prins as the continuation of her previous chronological adventure; and obviating the most established background stories between Batman and Superman: Dawn of Justice (2016) as the sequel to Justice League (2017).
In its majority, Jenkins and company mantienen the idea of como WW 1984 takes place inside the market mentioned while creating some propio.
It is probable that this innovation results in divisiveness among the general public, if the reception of the critique is a verdict, presumably due to the fact that, although in the first case in solitary confinement, the battles of 1984 abstract more than the propane villain .
With Jenkins at the helm one more time and a reduced part of his original elenco, 1984 is less an explosive superhero saliva and more the space of an alternative step with direct angles has our present.
Although Diana Prince, a war poet from the Amazon, the public is more than ready to enter into a single state of eternity.
+ The inevitable sequel …
In 2020, we will see more fruit in a macaque plan of a comic book city, starting the discussions on the model for the star of the movie, simultaneously in Chinese and in the streaming service HBO Max (in United States ), the irreversible sequelae are estranged, repeating the activities of the first moving film and beyond the chambers.
“Wonder Woman 1984” Promoted by the title a temporary change in relation to the action of the First World War of the anterior pelic, assuming from a principle the eternal fascination for the decade of the 80s that many fruits have given recently in titles such as Stranger Things (in television) or Ready Player One (in the movie).
It was precisely in 1984 when Diana Prince, who had not considered a day in decades, had the opportunity to be seen in his impossible date to meet Steve Trevor (Chris Pine), who never really lost.
Without embarrassment, as he discovers from the principle, only the value is imported to be a heroic hero, and when the magician McGuffin sees in the equivocal maneuvers of Barbara Minerva (Kristen Wiig) and Maxwell Lord (Pedro Pascal), the alter ego of Diana has that hacerlo tomar action.
From the color cartel has the funny entertainment, the scene of the recent promise of nostalgia and humor, in a tendency to counteract the negroes of the universe of masculine homosexuals in Wonder Woman.
Without embarrassment, the potential of this concept is desperately needed, salvo in the use of Gordon Gekko’s philosophy of que “la codicia es algo bueno” – who escapes the reference, recommends the Wall Street discovery, 1987 film made by Oliver Stone – and the geopolitical surface surface of the Guerra Fría that appears more interesting in commenting on the views and concerns of the actual reality that in socavar el context of the era.
This is, therefore, one of the tales of Aquiles of this sequel (heredity, it is, of course, the first movie): the need to predict the spectator, assuming these forgotten propositions and literal cases.
It is beneficial to use a cultural vehicle of this nature to comment on sexism, disenfranchised capitalism and the war spirit of human nature in general, promoting positive and inspiring values.
Prohibition of Prohibition, Wonder Woman, 1984, is the idea of executing a mana tan dura that invalidates his major intentions.
In a positive way, uniting new to the athletic Gal Gadot and the charismatic Chris Pine, Pedro Pascal and Kristen Wiig are divided composing an anthology of villas.
If the narrative is difficult to capture, with a large prologue and a first act of demarcation arranged in its tram (game of words), when the captive, we offer some scenic action scenes and well executed, with the emotional implication of the charge interpretation of excellent interpretations.
If Pascal knew exactly what he was up to, diverted to Maxwell Lord by making huge grunts on stage, he’s going to be a Wiig performer while singing his praises to Barbara Minerva, gradually transmitting into a fatal woman with full control of his self-esteem, and finally in a villa at the height of the heroine, hereditary characters of the pages of the comic.
If it is possible to ignore the final writing that justifies Steve Trevor’s regression (and in that it is based on the premise of the movie), it is easy to see Chris Pine’s desire to regret together with Gadot.
The pair only continues the chemistry that we have presented in the previous movie, meaning that there is a ligature in the scenes in which Pine participates, lamenting only the mechanics of the narrative that we have already spent more time in his company.
In summary, the qualities of “Wonder Woman 1984” are canceled, not due to incompetence or technical failure, but due to the limited propositions of the genius as pertaining, while the argument, which was written six months ago by Patty Jenkins in collaboration with Geoff Johns and Dave Callaham.
An excerpt from exhilarating superheroes, from Marvel or DC Comics, can escape from any part of the formula that requires an intricate tramline, recollective mythology line and references to the comics pages that preceded, preferably escalates to conflicting an arrangement global escalation, and much action, which inevitably culminates in a frantic shock of pixelated canonical songs by the unmistakable Hans Zimmer or the disciplined fiel; in this case, having his promises, he wanted to be the master.
With these media, there will be a taquilla exit (streaming visuals or illegal downloads).
Desafortunadamente, el cine may result in it being accidental. Y, deseando sinceramente que advandos hacia un campo de juego juegado, Wonder Woman 1984 is a clear demonstration of that the gender distinctions are not ten sent, ya that the mediocrity, like the genius, is available for any, Independientemente de chromosomas.