Chemicals are the weapon of choice for the movie’s baddies, a German general ( Danny Huston) and a humanity-hating chemist, played by Elena Anaya (of Almodovar’s The Skin I Live In), wearing a prosthetic device over half her face - evil genius comes with a price. During the so-called War to End All Wars, the technology of killing is at a new, terrible level of sophistication. It’s a change that taps straight into the idea of a female warrior for peace confronting the world of men at its most destructive. Sticking to the basic setup of the early-’40s DC comics written by William Moulton Marston (who, notably, was inspired by first-wave feminists), Jenkins and screenwriter Allan Heinberg have moved the story’s action from World War II to the First World War. With eager fans unlikely to bemoan the film’s length or its lapses in narrative energy, Wonder Woman will conquer their hearts as it makes its way around the globe. As it stands, it’s intermittently spot-on, particularly in the pops of humor and romance between the exotically kick-ass yet approachable Gadot and the supremely charismatic Chris Pine as an American working for British intelligence, the first man the Amazon princess has ever met.
Had it really broken the mold and come in below the two-hour mark, Wonder Woman could have been a thoroughly transporting film.
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