Synccinema Quickie - WW'84

WW ’84 – The Superhero’s emotion-heavy moments are overcast by a childlike plot.

WW ’84, if released in ’84, would’ve at least garnered a better reception for its fantasy-filled plot and simplistic imagination of comic to film. But, thanks to its stiff competitor Marvel Studios and also the shouldered overweight of DCEU's Dark Knight Trilogy, a Superhero movie isn’t any more a child’s play or a children’s park for only the 8-12-year-olds to enjoy.

DCEU had upon it this poor understanding of how to create human-like complexity in a Saviour and the mistakes it did is a list starting from Dawn of Justice, Suicide Squad to Justice League. The one’s where it proved it’s understanding is Wonder Woman, to some extent Aquaman and the best of them all being Joker. Wonder Woman worked excellently with it’s brewing war sub-plot below the all Amazonian Spinoff theme for Diana. But, WW’84 has a dumb and lack-lustre sub-plot of human greed ( which is complex, yes) conceived from a childish moral standpoint. Lustre is only in the candy-coloured ‘80s that the movie creates in the initial minutes.

The war in Wonder Woman though was a subplot having enough gravitas shift, became the main plot of the movie by the time it reaches climax. Now, that’s enough for a Popcorn Entertainer. Just enough mind put into the story. WW’84 follows a similar scheme but removes the jigsaw puzzle level of complexity from Wonder Woman with a Lego-style action figurine.

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The opening sequence where Diana learns the cost of Truth – “Truth is above all!”, is jaw-dropping, it has the action we need, the action DCEU needs. Not the dim-lit VFX masking and butt-numbing climactic sequences. The climax itself is poor from both Wonder Woman’s and Cheetah’s trajectory of leading up to it. The disappointing among both is Wonder Woman’s for the build-up to Asteria’s armour is watered down by a straightforward reveal. It’s disappointing for Cheetah’s as hers is a plot we stop caring, after the first 5 minutes of screen presence, similar to Steve Trevor’s. 

Being Wonder Woman wasn’t the bigger challenge than being Diana. Gal Gadot’s physical manifestation of Wonder Woman is intact and as excellent as before for the action setpieces and her humane emotion-heavy moments ( there was more scope here than in the prequel ) for Diana, especially when she renounces her wish or during her epic monologue in the climax, are overcast by a childlike plot. Hans Zimmer's score, like Gal Gadot’s performance, doesn’t rise above the horizon, feeling buried. Also, this is the most mediocre and regular visual product for a movie shot on IMAX film, though Director Patty Jenkins said the movie demanded it.

Maa Vintha Gadha Vinuma 

The GenZ Romantic Drama shoulders on a balance of Relevance and Satire.

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In a nutshell, the biggest debacles of WW’84 is it’s a movie set in ’84 feeling like any other DCEU junk. It’s a movie shot on film but feels dull than digitally shot Wonder Woman. It’s a movie released in ’20 but an idea which would’ve paid off well if released ‘84.