Film

Wonder Woman 1984

Name: Wonder Woman 1984
Genre: Action, Adventure, Fantasy
Released: 2020
Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright

Wonder Woman 1984 is a superhero sequel set during the Cold War, trading the trenches of WWI for 1980s geopolitics and wish-granting mythology. It's visually sumptuous and sincere about its themes of desire and consequence, anchored by Gal Gadot's committed performance. It's for people who want spectacle with emotional stakes, even if the execution doesn't always land.

TMDb rating

3.2

Should you watch it?

Watch it if you enjoy big, bright superhero spectacle with a sincere heart, the kind of 80s-tinged adventure where wonder and earnestness matter more than gritty realism.

Skip it if you want a tight, economical blockbuster; at around two and a half hours it wanders, and its sentimental streak and cheesy stretches can grate if you came for sharp, lean action.

What it asks of you: Settle in for a long, leisurely runtime with plenty of slow, sun-washed stretches between the set-piece fights, and a willingness to let the mood, not the plot, carry you.

Not sure? Find tonight's pick in a minute.

If you liked this

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Black Panther2018

Visually rich, culturally grounded, and takes its mythology seriously. Excellent villain, strong ensemble cast, and it earns its emotional beats. Proves superhero films can be art.

But Some action sequences are shot too close and edited too fast to follow clearly. The film asks a lot of patience in its second half.

Thor: Ragnarok2017

A superhero film that's genuinely funny without sacrificing stakes. Colorful, inventive design, excellent ensemble chemistry, and surprisingly moving about loss and identity. Taika Waititi at his best.

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Not sure tonight? Get a pick in a minute, starting from Wonder Woman 1984

The wildcard

Something you would not have found on your own.

Mulholland Drive2001

Both films are obsessed with the corrupting power of wish-fulfillment, using their settings as dreamscapes where desire becomes dangerous. Each forces its protagonist to confront what she's willing to lose.

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The Gray Man2022

A globe-trotting spy thriller with real craft in its action sequences. Ryan Gosling does his best work in years, supported by a charismatic ensemble. Stylish and propulsive.

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Black Widow2021

Finally gives Natasha Romanoff her due with a lean, character-driven spy thriller. David Harbour steals scenes, the action is crisp, and it explores familial betrayal with real weight. A course correction for the character.

But The MCU formula still shows through. Some reveal feels late and undercooked, and it struggles to justify its existence after her arc in Endgame.

Eternals2021

Chloé Zhao brings her documentary realism to the superhero film. Visually stunning, thematically ambitious, and unafraid to move slowly. Treats mythology with reverence and explores immortality's real cost.

But Narratively messy and overstuffed with characters. The pacing is glacial at times, and the emotional beats don't always land convincingly.

Doctor Strange2016

A sleek introduction to cosmic-scale magic in the MCU. Visually inventive with that trippy aesthetic, and Benedict Cumberbatch is perfectly cast as a surgeon learning humility. Fun ensemble dynamism.

But The villain is forgettable and the plot is rote. It relies heavily on visual spectacle to distract from its thin emotional core.

Aquaman2018

Underwater world-building is actually impressive, Jason Momoa has effortless charm, and it commits fully to its pulpy premise without irony. The action is visceral and the design is immersive. Pure popcorn fun.

But The screenplay is lazy and the dialogue clunky. If you're looking for wit or depth, this is pure surface spectacle.

Shang-Chi and the Legend of the Ten Rings2021

Beautifully choreographed martial arts sequences, excellent father-son antagonism, and it centers Asian culture without exoticism. Tony Leung brings genuine menace, and the emotional core feels earned.

But The third act devolves into CGI-heavy chaos that undermines the intimate fight work. The plot becomes generic superhero mechanics.

Shang-Chi and the Legend of the Ten Rings poster

Primal Fear1996

Both use a charismatic, physically beautiful lead (Norton, Gadot) to explore the gap between appearance and reality, asking us to trust what we see until the truth destabilizes that trust entirely.

Edward Norton's seismic debut as a disturbed altar boy suspected of murder. Legal thriller with a twist that recontextualizes everything. Taut, morally complex, and anchored by a performance that justifies its intensity. Peak Norton.

But The twist can feel manipulative on reflection. If you despise being surprised in that way, you'll resent the film for its cleverness.

The Wrestler2008

Both films grapple with the cost of maintaining an image—Diana as the perfect hero, The Wrestler's Randy as the glamorous performer. Each film shows what's sacrificed to stay that way, and the hollow ache of being admired rather than truly seen.

Darren Aronofsky and Mickey Rourke create a raw, unglamorous portrait of a man desperate to matter, destroying himself for approval. It's brutal and compassionate. Rourke's performance is staggering—a man trying to stay relevant when the world has moved on.

But The despair is relentless. There's no redemption, no uplift, and watching it means sitting with someone's complete deterioration. It's punishing cinema.