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Title : Frozen Frozen genre : Animation, Adventure, Family Frozen crew : John Lasseter, John Kahrs, Jim Passon, Christophe Beck, Odin Benitez, Odin Benitez, Chris Buck, Chris Buck, Peter Del Vecho, David Womersley Frozen release date : 26 March 19 5 5 Frozen runtime : 102 Minutes Frozen Crew : John Lasseter, John Kahrs, Jim Passon, Christophe Beck, Odin Benitez, Odin Benitez, Chris Buck, Chris Buck, Peter Del Vecho, David Womersley Frozen cast : Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana, Alan Tudyk, Ciarán Hinds, Chris Williams, Stephen J. Anderson, Maia Wilson ========================ஜ۩۞۩ஜ==========================
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Young princess Anna of Arendelle dreams about finding true love at her sister Elsa’s coronation. Fate takes her on a dangerous journey in an attempt to end the eternal winter that has fallen over the kingdom. She's accompanied by ice delivery man Kristoff, his reindeer Sven, and snowman Olaf. On an adventure where she will find out what friendship, courage, family, and true love really means. Frozen 2013 review : "Frozen," the latest Disney musical extravaganza, preaches the importance of embracing your true nature but seems to be at odds with itself.
The animated, 3-D adventure wants to enliven and subvert the conventions of typical Disney princess movies while simultaneously remaining true to their aesthetic trappings for maximum merchandising potential. It encourages young women to support and stay loyal to each other—a crucial message when mean girls seem so prevalent—as long as some hunky potential suitors and adorable, wise-cracking creatures also are around to complete them.
It all seems so cynical, this attempt to shake things up without shaking them up too much. "Frozen" just happens to be reaching theaters as Thanksgiving and the holiday shopping season are arriving. The marketing possibilities are mind-boggling. And in the tradition of the superior "Beauty and the Beast" and "The Little Mermaid," surely "Frozen: The Musical" will be headed to the Broadway stage soon. The songs – which are lively and amusing if not quite instant hits—are already in place.
Little girls will absolutely love it, though. That much is undeniable. And the film from co-directors Chris Buck ("Surf's Up") and Jennifer Lee is never less than gorgeous to watch. A majestic mountaintop ice castle is particularly exquisite—glittery and detailed and tactile, especially as rendered in 3-D.
But first we must witness the tortured backstory of the film's princesses – not one, but two of them. The script from "Wreck-It Ralph" co-writer Lee, inspired by the Hans Christian Andersen story "The Snow Queen," has lots of cheeky, contemporary touches but is firmly and safely rooted in Scandinavian fairy tale traditions.
When they were young girls, sisters Anna and Elsa were joyous playmates and inseparable friends. But Elsa's special power—her ability to turn anything to ice and snow in a flash from her fingertips—comes back to haunt her when she accidentally zaps her sister. (Not unlike the telekinesis in "Carrie," Elsa inadvertently unleashes her power in moments of heightened emotion.) A magical troll king heals Anna and erases the event from her memory, but as for the sisters' relationship, the damage is done.
Elsa's parents lock her away and close down the castle, which devastates the younger Anna. (Of the many tunes from "Avenue Q" and "The Book of Mormon" songwriter Robert Lopez and his wife, Kristen Anderson-Lopez, the wistful "Do You Want to Build a Snowman?" is by far the most poignant.) But once they reach adolescence and it's Elsa's turn to take over the throne at age 18, the two experience an awkward reunion.
The perky, quirky Anna (now voiced by a likable Kristen Bell) is a little nervous but overjoyed to see her sister. The reserved and reluctant Elsa (Broadway veteran Idina Menzel) remains distant, and with gloved hands hopes not to freeze anything and reveal her true self on coronation day. But a run-in with an amorous, visiting prince (Santino Fontana) who sets his sights on Anna triggers Elsa's ire, and she inadvertently plunges the sunny, idyllic kingdom into perpetual winter.
Flustered and fearful, Elsa dashes away in a fit of self-imposed exile – which significantly weakens "Frozen," since she's the film's most complicated and compelling figure. On her way to the highest mountain she can find, Elsa belts out the power ballad "Let It Go," her version of "I Am Woman." This soaring declaration of independence is the reason you want a performer of Menzel's caliber in this role, and it's the film's musical highlight. (Her flashy physical transformation from prim princess to ice queen does make her resemble a real housewife of some sort, however.)
Afterward, though, the story settles in on Anna's efforts to retrieve her sister and restore order to the kingdom. Along the way she gets help from an underemployed ice salesman named Kristoff (Jonathan Groff) and his trusty reindeer sidekick, Sven. They all meet up with a singing snowman named Olaf (a lovably goofy Josh Gad, star of "The Book of Mormon" on Broadway) who dreams of basking in the warmth of the summer sun. This "Wizard of Oz"-style quartet makes the obstacle-filled trek to the imposing fortress that awaits. (At least "Frozen" has the decency to borrow from excellent source material.)
While the journey may seem overly familiar, the destination has some surprises in store. Some come out of nowhere and don't exactly work. But the biggie—the one that's a real game-changer in terms of the sorts of messages Disney animated classics have sent for decades—is the one that's important not just for the little girls in the audience, but for all viewers. http://newmoviestream.co/watch/2294629/frozen wish everything about the film met the same clever standard. I was excited to watch this movie after all the buzz about it but I've been a bit disappointed.
Yes, the animation is great and it keeps all the typical Disney details and is funny, sometimes. In addition, it features two strong female characters that don't need of a hero to save the story but ...
... but still they are the super-beautiful and perfect Disney princesses, as if they couldn't be normal girls from normal status, and the role of Queen Elsa is not that important as it would have expected.
Not a bad movie, but not the best and I think far from the fun I had with Tangled. If you enjoy reading my Spoiler-Free reviews, please follow my blog :)
Six years later, and Frozen has left an undeniable cultural impact. From Let It Go to tons of merchandising, Chris Buck and Jennifer Lee delivered such a memorable film that people not only didn’t forget but regularly asked for its sequel. As of right now, Frozen II has claimed the third-best animated opening weekend ever, proving that the love for this franchise (I think it’s safe to call it that already) is strong. However, how great is the original movie, after all? To be honest, I never fully watched it until this past week in preparation for its sequel. It surprised me in the sense that I didn’t expect to enjoy it as much as I did. Frozen is deserving of the love it possesses.
With extremely captivating characters, the story flows naturally, and the entertainment levels are always high. Whether these are due to the amazing singing sequences or to the exciting adventures, this film never stops having fun. That’s what Frozen ultimately is: a lighthearted, fun, and entertaining movie. It follows Disney’s formula for creating a variation of a story we have seen before. Characters go through a traumatic event when they’re young. They have to grow up while struggling with the aftermath of said trauma. Eventually, they overcome that obstacle and live happily ever after (or at least until the next installment).
It’s the generic and somewhat cliche Disney model for a new animated film (franchise). Nevertheless, don’t get me wrong: it works perfectly. Sure, it doesn’t bring anything new story-wise, but it’s still a great time. Despite some unnecessary and lazy exposition (the magical trolls are basically exposition devices), Frozen still delivers a truly captivating and visually jaw-dropping narrative. I do need to emphasize this: the animation is phenomenal. Elsa’s magic is seamless and beautiful. Arendelle is a gorgeous location, and the snowy mountains are impressively designed. Let It Go will always be remembered for its lyrics and melody, but the actual animated sequence is astonishing.
Every character carries a lot of expressiveness, which allows them to do basically everything. Frozen might not be a groundbreaking movie, but its compelling characters make the generic plot work. From Elsa and Anna’s complicated but heartwarming relationship to Kristoff and Sven’s camaraderie, I care about all of them… especially Olaf. I know, Olaf is simply the snowman version of a comic-relief character. He doesn’t really have a complex arc in need of extreme development. However, it’s impossible not to love him. He’s such a welcome presence in every single scene. Every single line of his is either a funny remark or a pretty valuable insight into something.
Counting him out, every other character has a very well explored arc, mainly Elsa and Anna. Their (older) relationship originates from a plot point that might be a tad exaggerated, but it’s convincing enough. Finally, the score is as important as it is fantastic. It’s an animated musical, let us not forget about that. Obviously, Let It Go is the queen of all songs due to its catchy lyrics, memorable chorus, and significance to the character. But other ones such as Do You Wanna Build a Snowman and For the First Time in Forever also carry a sweet melody plus some exquisite character and story development. That’s what I love the most about musicals and why Disney always triumphs regarding this aspect: the way a simple song can tell so much about someone or move the plot forward. In my opinion, it’s the genre’s variation of “show, don’t tell.”
In the end, Frozen might not be a groundbreaking animated film story-wise, but it delivers around 100 minutes of pure fun and entertainment. With an exceptional voice cast (Idina Menzel, Kristen Bell, and Josh Gad are wonderful), Chris Buck and Jennifer Lee are able to take Disney’s formula and create a worthy variation of the classic blueprint. From the emotionally compelling and well-developed characters to the eyegasmic animation quality, Frozen is a good time from start to finish. Boasting some memorable and catchy songs, it became one of the decade’s culturally most impactful animated movies. I wish exposition wasn’t overused, and that more risks were taken concerning the screenplay, but as a Disney animated flick, it meets the company’s standards.
Rating: B Great animation and good voice talent, however pretty weak story but ultimately entertaining enough movie. Also found the music, outside of the song "Let It Go" (which was played to death for the past several years now) were rather forgettable and bland. **3.0/5** One of Disney's best, in my opinion. Not quite top tier, but very close.
'Frozen' really did blow up when it was released, and rightly so. Sure it probably got overhyped but that isn't the film's fault. It's a cracking watch, the pacing is absolutely spot on as are the musical numbers.
What impresses me the most about the music is that it manages to keep the storytelling alive whilst it occurs. Particularly at the beginning there are loads of songs squeezed in next to each other, which could mess with the premise building but it doesn't - it actually enhances it. The songs themselves are terrific, with "Let It Go" obviously getting the most plaudits.
Idina Menzel (Elsa) and Kristen Bell (Anna) are excellent in the lead roles, while Josh Gad almost steals the show as Olaf - very funny character! Of course it's aimed at the younger audience members, but it is still entertaining for us adult folk too - I've watched it a few times down the years and still thoroughly enjoy it.
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A botched store robbery places Wonder Woman in a global battle against a powerful and mysterious ancient force that puts her powers in jeopardy. Wonder Woman 1984 2020 review : It isn't as easy as saying 'Wonder Woman 1984' is a good or bad movie. The pieces are there, and there are moments I adore, but it does come across as a bit of a mess, even though the action sequences are breathtaking. If you're a fan of the original film, you'll be more willing to take the ride, but for those more indifferent, it may be a bit of a blander sit. If you can and are planning to watch it, the theatrical experience is the way to go - there is nothing like seeing these stunning sets, fun action scenes and hearing Zimmer's jaw-dropping score like on the big screen. - Chris dos Santos
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The superhero genre has been growing exponentially during the last decade, so it's bizarre to go through an entire year with only Birds of Prey and The New Mutants instead of literally dozens of films from both Marvel and DC. Thankfully, Warner Bros. decided to release Wonder Woman 1984 before the year's end, but not without a catch. Most people will only have the possibility of watching one of the few blockbusters of 2020 through HBO Max, a streaming service only available in a couple of countries, while some incredibly lucky moviegoers might have the chance of seeing this visually epic film in theaters, depending on the country's pandemic rules.
Fortunately, I'm one of those lucky people who got the opportunity to end 2020 on a positively immersive note by watching Patty Jenkins' latest flick in an almost empty IMAX theater (paradise). If you've been following me for some time, you know I'm a firm believer and defender of the so-called "theater experience", and I can't hide the fact that I felt extremely emotional going into one of the best, biggest theaters in Portugal to witness one of my Most Anticipated Movies of 2020. Until 2017, DCEU struggled to deliver a massively loved installment, and Wonder Woman came to the rescue. It was one of my favorite films of the respective year, so I was obviously excited for its sequel, even more having in mind the circumstances we're all living in.
In my opinion, this sequel stands close to its predecessor. With a lengthy runtime known for being associated with absolutely epic movies, I was confident that WW84 could deliver a solid film with great villains for a change. Well, Kristen Wigg and Pedro Pascal are definitely two of the indisputable standouts. Patty Jenkins, Geoff Johns, and David Callaham made the right decision in dedicating a significant portion of the screenplay to Barbara Minerva and Max Lord. Their arcs are far from being groundbreaking, but they're a thousand times more effective than the "CG punch bag" narrative.
Barbara follows the "lonely, insignificant, no one cares about me" archetype, and Wiig does a surprisingly remarkable job in portraying this character, but the script is what really makes her shine. At first, her comedic mannerisms left me a bit dubious about the eventual character's likeness. However, as time flies by, it's almost inevitable to feel sorry for Barbara, making her future motivations understandable and perfectly natural. On the other hand, Max Lord is apparently exploding with conviction, but his life is not as amazing as everyone might think. This time, it's Pedro Pascal who ends up elevating the character, delivering a brilliant performance with just the right amount of over-the-top expressions.
Even though these two are magnificent, Gal Gadot continues to prove that she's one of the best casting choices of the millennium, interpreting Diana Prince aka Wonder Woman. I seriously cannot imagine another actress wearing that costume, throwing that Lasso of Truth, incorporating the character's essence as seamless as Gadot. In this movie, she was able to perform highly emotional scenes, nailing every single one. Her chemistry with Chris Pine (Steve Trevor) is palpable on the other side of the world, and their interactions go through every zone of the emotion spectrum. Regarding Steve, I'm not going to spoil how he comes back or anything concerning his arc, but I can safely write that his presence in the film is both necessary and logical.
The biggest compliment I'll offer this sequel concerns its screenplay and direction. Finally, I can confidently write that the DCEU is capable of producing a well-structured, well-developed story with well-written characters. It doesn't have as much action as the original, but I still didn't feel the 151 minutes. WW84 flows incredibly well due to Jenkins' ability to fill up the runtime (almost) only with important scenes. There's a slight "over-persistence" in the attempt at sending a certain message (I'll get there), but story-wise, I sincerely wouldn't take a second out. Even the comic relief moments, particularly with Pine (who plays some sort of parallelism with the first movie's Diana), are welcome and timely.
The action scenes might be low on quantity, but the few that the audience gets are long, complex, and technically challenging to pull off. The opening sequence alone almost made me tear up due to its epicness. Hans Zimmer's powerful score, Richard Pearson's clean editing, and Matthew Jensen's camera work all work together to present a lengthy, grand, wide view of an Olympics-style obstacle course with young Diana. Throughout the entire film, the action is colorful, vibrant, fun, and entertaining… except for the (supposedly) climactic clash.
Well, to be fair, there are two climaxes during the last thirty minutes since WW84 owns two antagonists to play with. One of them is closed in perfect fashion, with the emotional stakes at their highest. Great job there, no complaints whatsoever. However, the main fight sequence inexplicably contrasts with the rest of the movie's action. The vibrant colors disappear and are replaced by a dull grey, which makes one of the characters involved (who shares the same color tone) hard to notice, transforming an epic final battle into an underwhelming, barely comprehensible collection of awkward cuts, punches, and screams. Gadot's golden suit is way less exciting (and poorly lit) than her original costume, and Barbara's arc ends without real closure.
In addition to this, Jenkins insists too much on passing to the audience that greed brings horrible consequences. "Be careful what you wish for", "money and power can't buy happiness", "be thankful for what you have", and messages along these lines are repeated continuously (implicitly and explicitly). I admit that it might be a nitpick of mine and that not many people will feel like I did, but I couldn't help but feel that some moments sounded and/or seemed a bit preachy and way too repetitive. Also, it's a bit weird how the official premise mentions Wiig as Cheetah, but this word is not mentioned once in the entire film… Nevertheless, don't be mistaken: I'm thrilled that WW84 is the last flick I watch at a theater this year!
All in all, Wonder Woman 1984 proves that DC continues on the track of success by delivering a well-structured, well-developed DCEU installment without an absurd amount of overwhelming CGI and/or forgettable villains. Patty Jenkins, Geoff Johns, and David Callaham's impressively layered screenplay makes the lengthy runtime feel adequate not only by offering epic, exciting, technically superb action set pieces, but also due to the remarkably well-written heroes and antagonists. Gal Gadot and Chris Pine are outstanding together, but Kristen Wiig and Pedro Pascal steal the show as the newcomers. With two wonderful "villains", WW84 boasts a solid, elaborate narrative that I was lucky to witness on the big screen. Unfortunately, the climactic battle is disappointingly underwhelming and colorless, Barbara's arc ends abruptly without true closure, and Jenkins insists too much on the thematic message of the story. These issues may affect more viewers or not, but one thing's for sure: it's one of the most entertaining movies I've seen all year, worthy of being seen on a massive theater.
Rating: A- Gal Gadot returns as Diana Prince in “Wonder Woman 1984” which has seen its release date shift a few times due to the Covid-19 pandemic. The film has started to open overseas and will arrive in the U.S. on Christmas day with a limited debut on HBO Max as well.
The story sees Diana now living in Washington D.C. in 1984. Diana is popular but has refused male companionship as she still longs for her late love Steve Trevor (Chris Pine).
Diana works in the Smithsonian Institute in antiquities and keeps her secret identity under wraps even when a daring mall heist forces her to leap into action.
A shy and passive employee named Barbara (Kirsten Wiig); who is afraid of her own shadow and largely ignored by her peers is befriended by Diana and they discover one item from the heist is inscribed with the ability to grant a wish. Unknowingly Diana wishes for Steve to return and Barbara wishes to be more like Diana which sets a chain of events into motion.
A shady business man named Maxwell Lord (Perdro Pascal) has his site on obtaining the relic as he believes having the ability to grant wishes will allow him to save his failing business and give him the power he craves.
With such a promising setup; the film ultimately does not deliver on its premise and becomes bogged down in drawn out sequences with surprisingly little action and gaps in logic that defy even standards for a comic book film.
The first 90 minutes of the film has roughly 10-15 minutes of action tops and we are instead given lengthy scenes of Steve trying to find an 80s fashion look; flying over fireworks, and Maxwell trashing from one locale to another without much needed continuity.
An action scene involving a convoy chase through the desert seems very inspired by “Raiders of the Lost Ark” and ultimately does not deliver especially with such a long gape between the action sequences.
The final act does attempt to redeem the film as seeing Barbara transform into her new persona is interesting and Wiig does a very solid job with the role. This sadly is undermined with a single line of dialogue which takes away a big part of the transformation that audiences deserved to see.
There was also a sequence where Diana races down the streets and takes to flight with her Lasso and then discovers she can fly like Superman. Not only is this not in keeping with the character; but we see this extended fast moving sequence where she is clearly heading away from D.C. at great speed only to arrive at a destination with an item which had been established to be back at her home in D.C. It is this sort of sloppiness that really detracts from the film. There is also the fact that Steve has to fly her around on a jet that even as a pilot he should not know how to fly as he has never flown a jet aircraft in his life.
When the big confrontation comes it is a letdown as it is not overly epic and the CGI really does not seem to mesh. What is an even bigger disappointment is that a certain character stands emoting for several minutes while Diana gives such a bland and extended speech that even my wife had to ask “who wrote these lines”.
The film was not a total disaster as the characters were interesting and worked well with one another making the film entertaining in parts despite being really disappointed with it.
The film strikes me as a product of the talented Patty Jenkins being able to do whatever she wanted after the success of the first film. Jenkins not only Directed but did the screenplay for it. Considering the amazing job she did writing “Monster” I had high expectations for the film but to me it seemed like it could have used a bit more attention to several aspects.
My summary would be the following… good cast, entertaining in parts, not much action over two hours, takes huge liberties with Diana and her abilities, massive gaps in logic even for a comic movie. It aims to be epic and comes up lacking. At least the mid. credit scene was worth it.
3 stars out of 5 Heroes are only as good as their villains. Nothing sums up the disappointment of WW84 more than this.
Maxwell Lord & Barbara Minerva are two of the most dangerously dark psyches in DC lore, both fond of extremely nasty, deliberately sociopathic behavior.
Whoever it was pretending to be them in WW84, it wasn't those two from the comics.
We had some namby-pamby twerp called "Max Lord" who was just a misguided fool trying to fill that emptiness in his pathetic life with a magic dream. Yawn.
Also, some good-hearted ditz called "Barbara Minerva" basically became inadvertent collateral damage whilst Lord's dopey plan panned out. Admittedly, that's vaguely similar to one of Cheetah's later origin stories, but it completely discounts her propensity for choosing the pure evil path.
It could have been fun watching a proper mind-controlling Lord and a proper soul-possessing Cheetah fight over the "ownership" of some red shirt. Alas, no.
What an absolute WASTE of two A-grade narrative heavyweights! But then, that's the problem.
You simply could NOT use characters like Lord & Cheetah appropriately in a movie targeted towards a family audience, and it's obvious that "make this family friendly" was plastered all over the script in red sharpie.
Nothing's likely to change for the third WW installment, where, in keeping with the cinematic PG-downgrade of supervillains, Circe is portrayed as a lonely kid's party magician who gets angry when her balloons get popped, so she turns everyone into pet unicorns. This movie is dumber than it should be. In short: it looks fantastic and the action is in perfect WONDER WOMAN style. The problems are with the plot, the attention to detail and coherence. I'm not saying this movie should be more realistic, but a lot of the decisions just don't make any sense and it is loaded to the brim with cliches (eg. ugly duckling that is not ugly at all). If you expect something to happen, it will 100%, there is no try to dig deeper - it is always the most obvious and easiest solution. Especially the all solving "action" of Diana, is more than questionable and leaves so many plot-holes.
If you don't care about logic (not realism) or a challenging story this movie is perfect for you... Do not trust the reviews before Dec 25th 2020 they are bought and paid for early release reviews, this movie is bad real bad, bad CGI and horrible story shame really the first one was amazing but Patty Jenkins should just stick with directing she is just not a good writer. 1984, a sequel to the fantastic "Wonder Woman", which showed a cool breeze in the middle of a saturated superhero cinematic market, is a fantastic continuation of the story of our favourite super heroine. Lighter in action, but thematically profound, this may not be a film that pleases everyone.
Let's start with the positives: Gal Gadot, as a wonder woman, continues to prove to be the perfect choice to play the part. The actress maintains a strong bond with the audience , really showing all the strong emotions that the character feels during the course of the story. Without her, the film would lose something really essential: her soul.
The story, thematically linked to greed, our deepest desires and selfishness, provides a journey of development for the characters that makes us reassess certain attitudes taken throughout our lives. The story seeks to develop each of the characters, and this is what gives it so much strength.
Chris Pine, as Steve Trevor, is also one of the film's high points, and his chemistry with Gadot remains explosive, providing the film with an engaging romance that will make anyone feel warm inside.
The film is completely different from the first, its style is radically changed, becoming lighter, like a cartoon we watched on Saturday morning as children. For some, dramatic stylistic change may be a negative factor, but in a year of so much suffering, lightness and hope are exactly what we need to abstract ourselves from real life for two hours.
When it comes to action, the film is not as explosive as first, it is contained and the action sequences, though incredible, are scarce. In a two and a half hour film, this may entice some to feel bored. But in my opinion, the film never slows down because of the incredible characters and their interactions.
As far as the most negative points of the film are concerned, I would say that the rope of suspension of credibility is really stretched during the duration of the film and we are asked to accept really ridiculous things that come out of nowhere. The film is also very cheesy, with sequences that can be considered lame and dull.
All in all, however, this film is a glimmer of hope and joy in a dark and desperate year. I strongly advise you to watch it, it's two hours of fun, with no problems and smiles in the mix. Although not perfect, and inferior to the first, this sequel is worthy of the adjective "Wonder". Wonder Woman 1984 is solid where it counts, maudlin in the way its fans need it to be, and, similarly, just funny enough to be charming. For all that goes unsaid, the writing is even occasionally clever. **This movie was horrible... and I realize this isnt my genre..but I sat at Christmas and watched it with my 2 grand daughters as they were sooo excited to see it..and we literally ALL hated it... The movie itself is pointless with alot of dialogue that means nothing... no real build up to anything.. If you have to use an entire 2 hours to "explain" a character your probably doing something wrong..
Was SERIOUSLY disappointed in ALL the actors in it..Particularly the guy from the Chapo Netflix series.. his character was HORRIBLE... and if I am being honest..I am not impressed with this woman they have chosen as WW... not in slightest.. extremely odd looking and well... I didnt even find her acting chops good for a film like this...
It was so bad we lasted about %80 of the film befoe we stopped it and started the older one.. I'm not a fan of this actess nor this take on WW at all... ** I have read the book "1984" and saw some aspects of the book in this movie- Big Brother, Group Think etc. The moral dilemma that Wonder Woman faces is truly heart wrenching. But as for the rest of the movie, there were some good action scenes and great CGI.I did notice that of all the great nations affected negatively, there was one significant one missing, China. Why would China have been left out of the turmoil affecting the rest of the world? Were the makers of the film afraid to show anything negative about China, but were willing to show other nations in a type of stereotypical light? The depiction of the President of the US, who in 1984 was actually Ronald Reagan, was shown to be an insecure and to be overly ready to shoot off the nuclear warheads. They never called him by name, but the dark hair and the jar of jelly beans were obvious who they were portraying. The hair of the villain of the movie and his ever growing quest for power were subtle clues for another person that Hollywood has deemed a power hungry demonic person. Ironically, the villain uses the same medium to spread his mental suggestions as the media uses to influence us to theirs. The definite political agenda ruined some of my interest in the movie but as eye candy and brain numbing entertainment it fits the bill, They leave the possibility of a prequel or sequel open in scenes at the end - after the credits Wow, this movie was really bad. I quite liked the first movie and I am amazed how the writer(s), apparently with Patty Jenkins, in the lead managed to turn this into a boring piece of crud.
The movie is just so boooooring and nonsensical.
Below are my notes when watching this movie (I had to do something while watching it to not get bored out of my mind) which pretty much speaks for itself.
What is it with the stupid beginning? It was just silly lecturing and did not really bring anything to the story.
Those clowns pretending to be robbers. Was it supposed to be funny? Well it was not. Bad start indeed.
25% and this is boring.
40% and this is still f... boring.
A guy used to fly ancient propeller planes can suddenly fly jet fighter planes. And she "forgot" about radar? Seriously?
Flying straight through exploding fireworks and no one saw them nor did the engines get clogged up? And did they not have a world to save instead of sightseeing by the way?
A fighter jet flying from the US to Cairo in one go? Yeah, right!
Finally at 60% there is some action which is of course dragged down by this silly wish stone's impact on Wonder Woman.
And here we go with the illogical emotional bullshit refusing to accept reality.
My God, the bad guy is such an unintelligent and stupid jerk. No charisma whatsoever. The script is really such a juvenile piece of crud that it is unbelievable.
85% and finally some superhero action. Pretty lousy action but at least some action.
Holy crap! Even the finale is boring and dragged out. This entire movie could have been condensed into a 45 minutes TV show episode, and not a very good one at that.
Patty Jenkins is going on my watch list… for movies that I will avoid!
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