Wonder Woman 1984 arrived in theatres on Christmas Day, providing moviegoers a nice present to see them into the year 2020. In light of the COVID-19 epidemic and the resulting period of stay-at-home entertainment, Warner Bros. created history by releasing the picture on HBO Max and in theatres at the same time – along with all other planned 2021 films. Wonder Woman 1984 is an entertaining roller-coaster trip for the whole family, serving as a sequel to Patty Jenkins’ original Wonder Woman film and the ninth episode in the DCEU. Kristen Wiig shines as Barbara Minerva, who transforms into the wicked Cheetah, in her return appearance with Gal Gadot and Chris Pine.
Wonder Woman 1984 isn’t scared to be childish and goofy. After all, it starts with a fight scene involving a gigantic teddy bear, pastel mall décor, and Diana flashing a hammy wink to a little girl witnessing the fight. Other components of the film, such as real-life connections to Greek mythology, pro wrestling, and real-life government military initiatives, are likely to be overlooked by children.
Wonder Woman 1984 – Official Trailer
Then there’s the dubious and unsettling practice of using another person’s body for personal romantic gain. These are all the stuff only grownups notice in Wonder Woman 1984, from the most obscure references to the most uncomfortable situations.
It’s a total throwback to the 1980s.
Wonder Woman 1984 continues up with Diana of Themyscira in the 1980s, one of filmmaking’s favorite decades to depict. From the decade’s fantastic music to its dazzling video shops, there’s a lot to admire about the ’80s. Those who lived through the 1980s will recognize numerous actual features from that era dispersed across the set of Wonder Woman 1984, despite Hollywood’s frequent exaggeration of the era.
In Wonder Woman 1984, even the crosswalk signs are true to the era. The words “Walk/Don’t Walk” were shown on the signs until the early 2000s, rather than the current symbols symbolizing a person in mid-stride.
Glam rock, new wave, and synth-pop were among the numerous new musical genres born in the 1980s. Many of the songs that were popular at the time are still in use today. Nothing quite like UB40, Blondie, or Van Halen on the soundtrack of a movie to bring back childhood memories. Surprisingly, Wonder Woman 1984 relies heavily on Hans Zimmer’s skillful composition rather than legendary tunes. Despite this, the film acknowledges hip beginnings. hop’s The Sugarhill Gang’s “Rapper’s Delight” became the first hip-hop record to hit the Billboard Top 40 in January 1980, after the genre originated in the 1970s.
Run DMC and Aerosmith collaborated on a rendition of the rock band’s 1975 blockbuster single “Walk This Way” in 1986, launching the genre into the international spotlight. On the Billboard Hot 100, it peaked at number four. Turntablism, breakdancing, graffiti painting, and emceeing are all part of the hip-hop jigsaw. Films such as Wild Style, Breakin’, and Style Wars from the 1980s popularised these components of hip-hop in New York City.
With its backdrop of b-boys and b-girls breakdancing on cardboard-covered corners and dressed head-to-toe in Adidas and Tribal Gear, Wonder Woman 1984 refers to this not-so-quiet revolution. Despite the fact that hip-hop has become a global phenomenon, the foundation of the culture is still comprised of the kind of gifted individuals Diana and Steve admire in this video.
Time is running out.
When one of Max Lord’s final business investors, Simon Stagg, threatens to denounce him to the Federal Trade Commission unless Max returns his money within 48 hours, adults can’t help but roll their eyes. Film and television producers prefer this type of “race against the time” cliche because it adds a feeling of urgency to the story without being too constraining. The 48-hour timeline is a common choice for on-screen tales since it allows for a diversity of shots during the day and night while maintaining the storytelling economy.
Is this a well-known plot device? It was so widespread that it was mocked in a 1980s film about 40 years before Max Lord faced it in Wonder Woman 1984. 48 Hrs., a 1982 action-comedy starring Nick Nolte and Eddie Murphy, actually calls out this trope in its title. We can’t say we blame filmmakers for sticking to a tried-and-true story device, but it does become old.
Many plotlines include characters attempting to complete impossible objectives within unrealistic timescales. The idea has become quite stale as time has passed due to its overuse. Max Lord’s battle in WW84 may be interesting to younger viewers, but it is likely to be predictable and anticlimactic to older audiences.
A major blunder.
The film Wonder Woman 1984 gets a lot of things right about the 1980s, but it gets one thing horribly wrong.
At the start of Max Lord’s huge closing speech, acute eyes will notice this terrible inaccuracy. Lord is able to splatter his face over the screens of innocent bystanders worldwide after successfully taking over the world’s broadcasting frequencies using secret government technology. His face is visible no matter where Diana goes, inspiring people all across the world to wish for what they desire and to see their greatest dreams come true.
The main flaw with this supervillainous plan is that the screens broadcasting Lord’s visage include television and computer monitors.
This scene takes place decades before the internet or streaming services were widely available to the general public. In fact, because Apple had just begun selling their first generation of Macintosh computers that January, the notion of a home computer was regarded quite unique and exotic at the time. At the time, such an all-encompassing broadcast was not only inconceivable but also impossible.
The fact that this mistake went unnoticed by the production crew before publication demonstrates how simple it is to take technology for granted — and how much older folks who were alive in the 1980s are. So, sonny, what exactly is it? With our eardrums blasted out by 1980s punk rock and techno, it’s difficult to hear you!
Star Wars is a science fiction television show.
While the technology used by Max Lord to take over the planet’s airwaves in Wonder Woman 1984 may be science fiction, the parent program used as a contrast in the film was based on a true story.
The Cold War was at its pinnacle in the 1980s, with the US and the Soviet Union passionately striving to one-up one other while maintaining a public illusion of peace.
During this time, secret government plans flourished, including Ronald Reagan’s Strategic Defense Initiative (SDI), a missile defense system suggested in 1983 as a means of rendering nuclear weapons obsolete.
He felt that the present nuclear stockpile, which was held by major world powers under the premise of “mutually assured destruction,” was a shoddy suicide pact about to unravel. The SDI, dubbed “Star Wars,” envisioned using cutting-edge technology and armaments like lasers, particle beams, satellites, and land and space-based missile systems to counter incoming threats such as nuclear missiles.
Allow your hair to fall freely, Barbara.
Barbara Minerva, who changes from an introverted wallflower into the powerful apex predator known as Cheetah, is played by Kristen Wiig, who does a fantastic job. Barbara’s persona, on the other hand, may ring a bell with older moviegoers who have watched more films than their younger counterparts. Barbara’s narrative swings around the axis of a tired trope: the geeky girl who gets a makeover and transforms into a popular beauty.
Eliza Doolittle from My Fair Lady, Sandy Olsson from Grease, Mia Thermopolis from The Princess Diaries, and Laney Boggs from She’s All That are all examples of this same old trope.
Indeed, this story premise has been used many times before, and its application tends to diminish rather than strengthen the individual in the issue. To put it another way, no one is astonished any longer when the ugly duckling transforms into a swan — especially because the duckling is almost always gorgeous, to begin with.
Body snatchers are on the loose.
Diana unintentionally uses the prized Dreamstone to bring her long-dead boyfriend Steve Trevor back to life in Wonder Woman 1984, but not in the way you may anticipate. Instead of magically restoring Steve Trevor’s body, the Dreamstone implants his mind into the body of another man who lives near Diana in Washington, DC. To avoid audience confusion, the “Handsome Man,” as he’s known, is shown momentarily at the outset of his possession, before his picture is replaced with Steve Trevor’s.
The science that is inconclusive and unrealistic
Wonder Woman 1984 is chock-full of wildly absurd portrayals of physics and technology that are difficult to overlook, even for a jaded adult. Despite the vast contrasts between the planes he flew during World War I and the current jet he and Diana hijack, Steve insists on flying a modern plane and does so without hesitation. Furthermore, Diana’s magically invisible plane likewise vanishes from radar — but just because something is invisible to the human eye doesn’t imply it is equally invisible to radar.
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Furthermore, without oxygen and specific diaphragm training, it is hard to breathe effectively when experiencing the G-forces and thin oxygen experienced while flying at high altitudes. Diana and Steve, on the other hand, converse away unsupported, as though toddling along the highway rather than hurtling through the air at hundreds of miles per hour.