189(1): Redoing My Life, WonderWoman 2014 pt.2

“So what did you think?” I asked, pacing slowly across the living room with my phone pressed to my ear.

Haley’s voice came through. “Honestly? I liked it. Like, really liked it. If this is what these nerdy superhero movies are like, I would’ve started watching them years ago.”

“That’s good. I mean… what about your friends? Your whole circle?”

There was a pause, then she laughed. “Yeah, they loved it. One of them already said she’s going as Wonder Woman for Halloween. Probably three of them, actually.”

“Good. Good,” I said, a grin forming on my face. “I hope that’s how it is everywhere.”

Then, faintly through the speaker, I heard another voice chime in—Alex.

“Hey! Why don’t you ask me how I liked the movie?”

“Well, I was about to—”

Before I could say more, Haley teased, “He asked me because I actually have friends.”

Alex didn’t miss a beat. “I have friends. And they all loved it. I mean—me included, obviously.”

As they started bickering on the line, I knew where this was going. Before they could drag me into it, I hit the button and ended the call.

The second it disconnected, my phone buzzed again. Dave.

I answered immediately. “Tell me.”

“Well,” he began…

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REVIEW: Wonder Woman is a Bold, Beautiful Triumph for the Superhero Genre
 By Natalie Reyes
 ★★★★½

The second installment in the DC Cinematic Universe arrives with soaring ambition, a bold creative team, and a lead performance that refuses to settle for clichés. Wonder Woman, directed with striking confidence and sensitivity by Bryce Dallas Howard, is a thrilling, surprisingly nuanced blockbuster that elevates both its story and its message.

From the moment Alexandra Daddario steps onscreen as Diana of Themyscira, it’s clear this isn’t a generic “girl power” movie. It’s the real deal—a character-driven, visually stunning, emotionally layered journey that never sacrifices intelligence for action, or spectacle for substance.

With a story and script by Gail Simone, the plot centers on Diana’s emergence into the modern world and her clash with forces shaped by corruption, inequality, and violence. At the heart of this conflict is Paula von Gunther, played with chilling poise by Charlize Theron. Gunther is not the one-dimensional villain we often see in superhero movies; she’s ideological, dangerous, and a dark mirror of Diana’s own convictions—a brilliant creative choice that gives the film emotional weight.

Bryce Dallas Howard brings an unexpected elegance to the director’s chair. Her pacing is deft, never rushing the character moments nor dragging the set pieces. She trusts her actors to convey vulnerability and strength in equal measure. The cinematography is lush, especially in scenes contrasting the mystical beauty of Themyscira with the sterile steel of the modern world. Costume designer Ann Madison also deserves high praise—the Amazonian outfits, transitional Earth outfits, and von Gunther’s haunting black regalia all feel iconic the moment they appear onscreen.

What elevates Wonder Woman beyond standard superhero fare is its navigation of themes. The film directly confronts both misandry and misogyny. It presents a heroine who is feminine and fierce, idealistic but not naïve. Daddario’s Diana is tender without being passive, righteous without being self-righteous. She embodies a type of power rarely granted to women in genre filmmaking: moral authority.

In many ways, the film feels like a long-overdue response to decades of blockbuster filmmaking that sidelined or simplified female heroes. Wonder Woman doesn’t just pass the Bechdel test—it rewrites it. It offers scenes of women mentoring one another, challenging one another, and saving one another.

Theron’s Gunther is a revelation—a villain driven by ideology rather than chaos, whose motivations force Diana to question the limits of compassion. Their final confrontation is as much philosophical as it is physical, and the film is stronger for it.

There are moments when the story treads familiar superhero territory, and some supporting characters could use more depth—especially Steve Trevor, played by Nikolaj Coster-Waldau. While he provides some of the film’s most humorous moments, he still feels underdeveloped.

But even when the film leans into genre expectations, it does so with style and intentionality. The action sequences are beautifully choreographed and—most importantly—emotionally grounded.

For all its strength, Wonder Woman is also filled with softness: smiles, small gestures, the weight of choice. Howard’s direction ensures that Diana is not just a figure of awe, but one of empathy. The film never loses sight of the fact that she is, above all else, human at heart, even as she’s godlike in her abilities.

Wonder Woman stands tall as something rare: a blockbuster with a soul.

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Box Office Showdown: Iron Man 3 Soars to $180M Opening, Wonder Woman Surprises With Strong $90M Debut
 By Brent Lang

The box office weekend played out exactly as predicted—at least on the surface.

Marvel Studios’ Iron Man 3 launched to a staggering $180 million domestic opening, firmly securing its place as one of the biggest debuts in superhero movie history. Propelled by a dominant screen count, aggressive global marketing, and Robert Downey Jr.’s ever-reliable presence, the threequel easily claimed the top spot and reaffirmed Disney’s iron grip on early summer.

But while Iron Man 3 dominated commercially, the more interesting story may be what happened just behind it.

DC Studios’ Wonder Woman, the second film in its emerging cinematic universe, opened to a solid $90 million—exceeding some projections by as much as $30 million. While it was never expected to beat Iron Man 3, the film has quickly gained momentum as the more critically acclaimed release.

Opening on only 60% of Iron Man 3’s screens, Wonder Woman has nevertheless sparked a strong word-of-mouth campaign, particularly among women and younger audiences. Early reactions show high enthusiasm and strong legs, which could lead to sustained success in the weeks to come.

The contrast between the two films is striking. Iron Man 3 landed good reviews, with many critics praising Downey’s performance. Meanwhile, Wonder Woman is being hailed as a breakthrough moment for superhero movies—garnering great reviews and praise for its direction, emotional depth, and Alexandra Daddario’s commanding performance as Diana of Themyscira.

And with Godzilla and Maleficent both entering the ring in the coming weeks, the real battle may be for staying power.

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Will post rest soon.