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Almost 70 years after the events of the first "Wonder Woman" Diana (Gal Gadot) She is still grieving for her lost lover, pilot Steve Trevor (Chris Pine). In 1984, she continues to fight small and large criminals, and during the day she works at a research center. There, Diana meets Barbara Minerva (Kristen Wiig), a reclusive scientist who is given a strange stone by the FBI for analysis. It looks like cheap citrine, if not for one "but": a mysterious inscription in Latin, promising the fulfillment of one wish to everyone who touches it. Not really believing in this, Diana and Barbara make wishes anyway – and they are unexpectedly fulfilled. Barbara becomes "just like Diana", that is, she gets superpowers, and Steve returns to Wonder Woman.
Maxwell Lord (Pedro Pascal), a charismatic but unsuccessful businessman who keeps an oil production company afloat with the last of his strength, is looking for the same stone. When he gets to citrine, he makes up his mind to become a stone himself and begins a world tour to fulfill the wishes of the powerful. However, for every wish he takes something in return and soon becomes the most powerful man in the world, simultaneously (and unknowingly) plunging this very world into utter chaos.
It's funny to see how the DC film universe – which was originally positioned as such a "gloomy Marvel answer" – radically changed the vector of development by the beginning of the new decade. That "Aquaman", that "Shazam", that now the new "Wonder Woman" is trying to surprise not with gloomy faces and neon tones, but, on the contrary, with naive fun in the spirit of adventure paintings of the 80s. Patty Jenkins' work goes even further in this sense and literally takes the action to these very eighties – to beat Zeitgeist on all the audience's receptors at once.
The plot here is also assembled from patterns peculiar to the era: there is a comical loser (Cheetah), who is destined to finally believe in herself, a story about a hitman and another interpretation of the idea of a "monkey's paw" – an artifact that fulfills desires, but at a very high price. There are, of course, differences: that same loser will turn out to be not a heroine, but a minor villain, and the main bastard Maxwell Lord is not at all a typical movie capitalist tycoon, as it may initially seem. And another confused loser who wants his son to be proud of him, and goes to rather dubious measures for this.
Individually, these deviations from the template are curious: "Wonder Woman 1984" turns on its head the pop-cultural myth of a loser who achieves everything because he deserves it. Here, the losers' desire to "be the first" is interpreted as destructive, and the heroine opposes them, on the contrary, privileged due to strength from birth. That is, the "American dream" is being replaced by an almost communist slogan "from everyone according to their abilities, to everyone according to their needs": they say, if you were born a boring gemologist, then live with it, you don't have to jump over your head, it's more expensive for yourself.
The problem is that you have to look for such interesting ideas in "Wonder Woman 1984" with a magnifying glass - the film wants to tell too much, throws scenes and whole storylines instead of focusing on one thing. In this, he is a bit like Sam Raimi's "Spider-Man 3" – several villains with their individual dramas were also crammed into it. And at the same time, it was also necessary to tell about the emotional experiences of Peter Parker himself, and to insert the action somewhere, in general, like Caesar, to do a hundred things at once. As a result, even the great Raimi buckled under the weight of ambition – let alone Patty Jenkins, who had hardly worked with big narratives before
![Wonder Woman 1984 (2020) [1080p] [BluRay] [5.1] [YTS]](https://f.0c.mom/no-cover.webp)
