As Steve Rogers struggles to embrace his role in the modern world, he teams up with a fellow Avenger and S.H.I.E.L.D agent, Black Widow, to battle a new threat from history: an assassin known as the Winter Soldier.
Samuel L. Jackson,
When Tony Stark and Bruce Banner try to jump-start a dormant peacekeeping program called Ultron, things go horribly wrong and it's up to Earth's mightiest heroes to stop the villainous Ultron from enacting his terrible plan.
Robert Downey Jr.,
Clark Kent, one of the last of an extinguished race disguised as an unremarkable human, is forced to reveal his identity when Earth is invaded by an army of survivors who threaten to bring the planet to the brink of destruction.
Diana, princess of the Amazons, trained to be an unconquerable warrior. Raised on a sheltered island paradise, when a pilot crashes on their shores and tells of a massive conflict raging in the outside world, Diana leaves her home, convinced she can stop the threat. Fighting alongside man in a war to end all wars, Diana will discover her full powers and her true destiny.
In modern times, Diana works at the Louvre Museum in Paris, France. In the comics, she briefly served at the Gateway Museum in California. See more »
When Diana is dancing at the gala with the sword in the back of her blue dress, the hilt of the fake sword leans far to the right when Steve is with her, showing that there is no sword at all, just the hilt. See more »
I used to want to save the world. This beautiful place. But I knew so little then. It is a land of beauty and wonder, worth cherishing in every way. But the closer you get, the more you see the great darkness simmering within. And mankind? Mankind is another story altogether.
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The closing credits are set in a montage of scenes from the film, accompanied by Wonder Woman's lasso, shield and logo. See more »
A Visual Extravaganza Brimming with Heart and Reason
Patty Jenkins' 'Wonder Woman' movie begins with a rocky, uneven start. But this very flawed pace allows the origin story of the amazonian warrior mature in a compelling build- up, and eventually navigate towards the rest of her story in a riveting seismic progression. It gathers an affectionate sentimentality that sustains its potency even amidst the imposing explosive sequences that often triumph to take the audience's attention away from the oddly satisfying distraction, that is Gal Gadot. There are these resonating anthems that remain ablaze throughout the film's 140-minute duration: love and peace, sacrifice and courage, and while it gets extremely preachy sometimes, the narrative rarely gets boring. Jenkins' take on the genre doesn't abandon the idea of terror, and mass destruction, but it singularly escapes the confines of superhero clichés that eliminate its players' moral form. In 'Wonder Woman', Diana Prince's humanity is held by Gadot's portrayal with a bracing commitment, something she never loses even when confronted with the deceptive appeal of evil and darkness. Her heroic verve gets an unexpected reinforcement from Chris Pine's Steve Trevor, with whom she shares a surprisingly inherent chemistry. This is the first DC film in a very long time, to ever sustain such visceral distinction, a visual extravaganza brimming with heart and reason.
Diana Prince's story takes us to a mysterious island known as Themyscira, hidden by Zeus in a protective dome of dim and mist, far from the grasp of humanity. She grows to believe that it is her sacred duty to protect her world, not knowing such 'world' will include what is beyond the clouds. But when the first man arrives in a suspicious water- crash landing, she expands her understanding and begins to welcome the idea of defending whoever needs help in the other side. But this eagerness barely entirely rests on a moral responsibility; she believes that Ares, the God of War, and her inevitable nemesis, is what causing the war waged by humans, and she needs to kill him in order to restore peace to both worlds. In one spine-chilling moment within her breathtakingly choreographed fight sequence with Ares, Diana rises from a fall, and virtually carries out her meteoric ascent, a symbolic assumption of her superhero status.
But in spite of the amount of physical tension and visual explosion, Jenkins balances the flavor by injecting humor and romance, utilizing them even in places where gripping action sequences are imminent. Chris Pine shines in his own moments, a remarkable feat for a character in a saga that seems to underscore women empowerment. There is a powerful moment where he grapples for words to ask for Diana's help to win the war; he practically breaks down, a stirring and moving scene to behold. Part of the film's colossal allure is its heart--it never loses it, doesn't intend to, and it grows to more awe-inspiring forms as it reaches a resonating, albeit predictable, resolution.
It is ironic to think that Diana Prince isn't human, but appears to be the most one, when compared with her colleagues in the looming 'Justice League' film. In the end, 'Wonder Woman' isn't a film free of blemishes as it still stumbles upon political truths it rarely gets justified, and minor expositions it doesn't seem interested to shed light on. But it has soul, humor, and wonder-- a narrative spectacle one seldom finds in a film of its sort.
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