Review: ‘Barb & Star Go to Vista Del Mar,’ starring Kristen Wiig and Annie Mumolo

February 11, 2021

by Carla Hay

Kristen Wiig and Annie Mumolo in “Barb & Star Go to Vista Del Mar” (Photo by Cate Cameron/Lionsgate)

“Barb & Star Go to Vista Del Mar”

Directed by Josh Greenbaum

Culture Representation: Taking place mostly in the fictional U.S. cities of Taylorsville and Vista Del Mar, the comedy film “Barb & Star Go to Vista Del Mar” features a predominantly white cast (with some African Americans and a few Asians and Latinos) representing the middle-class and working-class.

Culture Clash: Two middle-aged female best friends unwittingly get ensnared in a villain’s scheme to get deadly revenge on the residents of Vista Del Mar, Florida.

Culture Audience: “Barb & Star Go to Vista Del Mar” will appeal primarily to fans of stars Kristen Wiig and Annie Mumolo (who co-wrote 2011’s Oscar-nominated “Bridesmaids”), but “Barb & Star Go to Vista Del Mar” is a disappointing, uneven dud.

Jamie Dornan in “Barb & Star Go to Vista Del Mar” (Photo by Cate Cameron/Lionsgate)

When close friends Kristen Wiig and Annie Mumolo first wrote a movie screenplay together, it was for 2011’s hilarious “Bridesmaids,” which garnered an Academy Award nomination for the duo, as well as a best supporting actress Oscar nod for “Bridesmaids” co-star Melissa McCarthy. Unfortunately, Wiig and Mumolo’s next screenplay collaboration is the messy and frequently unfunny “Barb & Star Go to Vista Del Mar,” an awkward mishmash of repetitive jokes about being middle-aged women, with some sci-fi and musical theater elements that mostly fall flat. The movie definitely won’t be nominated for any awards, not even a Razzie, because “Barb & Star Go to Vista Del Mar” is ultimately forgettable.

Directed by Josh Greenbaum, “Barb & Star Go to Vista Del Mar” is a frequently unfocused movie that loses steam in the last third of the film. Greenbaum has a background in directing sitcoms, such as “Fresh Off the Boat” and “New Girl.” And that TV comedy background shows up in the most annoying ways in this movie. The music score sounds like it was made for a sitcom, and the music volume is turned up to irritating levels because it interrupts the flow of the movie.

Unlike “Bridesmaids,” which was made for adults, “Barb & Star Go to Vista Del Mar” tries to be more family-friendly and therefore loses a lot of potential to have raunchy humor that’s genuinely funny. However, there are moments where the filmmakers tried to throw in some adult-themed content, such as drug-fueled partying that ends up with some of the main characters having a sexual threesome. But this very adult scenario doesn’t really work in this film, because the movie is too cutesy with its sexual innuendo, thereby making the tone of the movie look confused and ultimately ineffective. Imagine if 2009’s “The Hangover” or 2017’s “Girls Trip” held back on a lot of the things that happened in the stories because the filmmakers wanted to make these movies suitable for underage kids to watch.

In “Barb & Star Go to Vista Del Mar,” Mumolo portrays widow Barb Quicksilver and Wiig portrays divorcée Star Testigivlio, two middle-aged best friends/housemates who talk in a Midwestern twang and embody every stereotype of being a very bland, sheltered and uptight middle-aged American woman. (The movie has a running joke about Barb and Star’s penchant for wearing culotte pants.) The movie doesn’t say which U.S. state Barb and Star live in, but their hometown is called Taylorsville, and it’s far enough away from Florida that they have to travel by plane to get to the Florida city of Vista Del Mar.

Barb and Star are motormouths who frequently talk over each other but don’t have much to say that’s meaningful. They obsess over trivial things, such as why they don’t want anyone to buy their favorite sofa at the Jennifer Convertibles furniture store where they work as sales clerks. They’re so attached to the sofa that they come up with excuses for customers not to buy it. In the end, it doesn’t matter, because one day their boss (played by Ian Gomez) calls Barb and Star into his office and tells them that they’re all losing their jobs because the company has gone out of business.

As Barb and Star leave the store in shock, a friend of theirs named Mickey Revelet (played by Wendi McLendon-Covey) sees them walking down the street and runs over to talk to them. Mickey raves to Barb and Star about just coming back in town from the vacation that she and her man Miguel took in Vista Del Mar, Florida. (It’s a fictional city in Florida. The movie was actually filmed in Mexico City and Cancun, Mexico.)

Mickey brags that not only did she have a lot of fun and get a splendid tan, but she also says that going to Vista Del Mar had this effect on her: “I feel like I got a soul douche.” That’s the type of dialogue in the movie that’s supposed to be funny. Before Mickey leaves, she hands Barb and Star a travel brochure for Vista Del Mar. McLendon-Covey was a scene-stealing character in “Bridesmaids,” but “Bridesmaids” fans will be disappointed that her role in “Barb & Star Go to Vista Del Mar” is really just a quick cameo, since she’s only in the movie for about five minutes.

Barb and Star’s idea of fun is getting together not with a book club but with a talk club, which consists of other boring women who are around the same age. The members of the talk club gather to discuss a single topic per meeting. Shortly after Barb and Star lose their jobs, they’re at a talk club meeting, which is led by a bossy snob named Debbie (played by Vanessa Bayer) at Debbie’s home. Three other women are also in attendance: Pinky (played by Fortune Feimster), Delores (played by Phyllis Smith) and Bev (played by Rose Abdoo), who all do whatever Debbie expects them to do.

The talk club has certain rules that Debbie is fanatical about enforcing. When one of the club members is one minute late, Debbie locks the door and won’t let her inside. And the three cardinal rules of the club are (1) No wearing of sneakers; (2) No swearing, except for the “f” word; and (3) No lying. When Debbie announces that this meeting topic will be jobs, Barb and Star look at each other with dread because they’re embarrassed to talk about how they’ve become recently unemployed.

As the members of the club go around the room to talk about their jobs, (pharmacist Debbie is ecstatic when she describes how much she loves shaking pills in bottles while listening to music), Barb and Star continue to act as if they still work at the furniture store. However, the guilt of lying gets to Star, who blurts out that she and Barb lied and they actually got laid off recently. A furious Debbie kicks Barb and Star out of the club.

With their social life in shambles, Barb and Star decide to follow Mickey’s advice and take a vacation in Vista Del Mar. On the plane, there’s a sequence that goes on for far too long where Barb and Star ramble on about what kind of lady would be an ideal friend to lots of other women. They call her Trish and imagine all sorts of scenarios and personality traits that this ideal woman would have. And as soon as this becomes the entire plane conversation in the movie, you just know that there will be a character named Trish that shows up at some point.

Now for the weird and clunky sci-fi part of the story. It’s shown in the beginning of the movie that underneath the quiet streets of suburban Taylorsville is a high-tech underground bunker where a villain lives named Sharon Gordon Fisherman (also played by Wiig), who wants to kill the people of Vista Del Mar for a revenge reason that’s revealed in the movie. (It’s the most obvious reason possible.) The only way to get to the bunker is through a secret entrance in a tree trunk. Yes, it’s that kind of movie.

Sharon has a skin condition that makes her look unusually pale and sensitive to being in sunlight. She always wears white clothing. And she wears her hair in a jet-black bob, which kind of makes her look like a cross between Gloria Vanderbilt and Tilda Swinton, if they wanted to look like a Goth who only wears white. Sharon has a bitter demeanor and she seems to have problems emotionally connecting to people.

Sharon has three people working for her: an unnamed elderly scientist (played by Patrick Bristow), a handsome henchman named Edgar Pagét (played by Jamie Dornan), and a precocious boy named Yoyo (played by Reyn Doi), who’s about 9 or 10 years old. In the movie’s opening scene, Yoyo is shown riding his bike while delivering newspapers and singing Barbra Streisand and Barry Gibb’s 1980 hit “Guilty.” However, Yoyo is no mild-mannered paperboy.

The scientist tells Sharon that he’s found a way to genetically modify mosquitos so that one mosquito sting can kill a large animal in minutes. When the scientist finds out that Sharon wants to use these mosquitos to kill humans, he objects to this plan and then is on the receiving end of Sharon’s deadly wrath. Shortly after that, Sharon orders Yoyo to activate a remote control in an earring that he’s wearing. The remote control sets off a bomb that was in a newspaper that Yoyo delivered to someone’s front porch.

Sharon then dispatches Edgar to go to Vista Del Mar to let loose the lethal mosquitos on the city’s population. Edgar is infatuated with Sharon and there’s a not-very-believable subplot that Edgar wants to be her boyfriend, but she’s been resistant to the idea. Sharon has a dead personality, so it’s very far-fetched that someone like Edgar (who could have his pick of women) would be pining after someone who lacks charisma and is very self-absorbed. But maybe Edgar likes women who play very hard-to-get.

And so, when Edgar goes to Vista Del Mar and inevitably meets Barb and Star, it’s at a hotel bar. He’s pining over Sharon and distracted in thinking about her, while Barb and Star try to strike up a conversation with him. There are some shenanigans that happen between Barb, Star and Edgar that leads to a very cliché plot development in a movie about two female best friends: They end up competing with each other over a man. Take a wild guess who it is.

In addition to the sci-fi elements of the movie that are very poorly conceived (with tacky visual effects), “Barb & Star Go to Vista Del Mar” has some musical song-and-dance interludes that come out of nowhere. The first is when Barb and Star arrive at the Palm Vista Hotel, and all the people in the lobby break into a musical number to greet Barb and Star. Edgar also has an extensive musical number on the beach that involves an obvious stunt double.

There are also some other bizarre things in the movie that don’t work well either. For example, Star has a conversation with a talking crab named Morgan Freemond (voiced by Josh Robert Thompson), and the “joke” is that the crab sounds like Morgan Freeman and gives advice to the lovelorn Star. Damon Wayans Jr. has a useless role in the movie as a spy named Darlie Bunkle, who makes contact with Edgar. The running gag with Darlie is that he’s supposed to be undercover and always lectures Edgar to keep their communication “private,” but Darlie always bungles and reveals his own identity so that it’s out in the open and not “private” at all.

If the movie wasn’t trying so hard to appeal to underage audiences, it could’ve had more fun showing adults acting and talking like adults. Instead, by playing it too coy and too safe, the movie’s humor fails to be edgy or genuine. There’s a recurring character in the movie named Richard Cheese (played by Mark Jonathan Davis), who’s a singer/pianist in the hotel lounge. The joke is that Richard keeps singing about how much he loves women’s breasts, and he comes up with all sorts of ways to say the word “breasts.” It’s a mildly funny gag, but the humor is very juvenile, like 10-year-old boys giggling about saying slang words for this part of the female anatomy.

“Barb & Star Go to Vista Del Mar” is a story about two middle-aged single women who go on what’s supposed to be a fun-filled vacation together, but the movie is so watered down, that Barb and Star might as well have been teenagers. Barb and Star are sheltered women, but it would’ve been funnier to have them experience culture shock in a raunchier environment. “Barb & Star Go to Vista Del Mar” is one of those movies where the trailer makes the film look a lot funnier than it actually is.

Wiig and Mumolo (who are also two of the movie’s producers) are capable of doing much better work. Barb and Star are fairly one-note. And except for a brief mention of why they are single (Barb’s husband Ron died in an accident, while Star’s husband Carmine left her for another woman), there’s no backstory for these two central characters. It seems as if the filmmakers were trying to do a middle-aged version of 1997’s “Romy & Michele’s High School Reunion” (another movie about two sheltered best friends who travel somewhere to party), but “Barb & Star Go to Vista Del Mar” lacks a lot of the charm that made “Romy & Michele’s High School Reunion” a hit.

“Barb & Star Go to Vista Del Mar” isn’t a completely terrible movie, because viewers can find some laughs here and there. (People who are under the influence of alcohol or other substances while watching are more likely to find this movie funny.) Wiig has better comedic timing than Mumolo, while Dornan has some deliberately campy moments that can’t save this embarrassing film. Andy Garcia and Reba McEntire have unremarkable cameos in the movie. Considering the level of talent involved in this movie, it’s a misfire in so many ways, and it will just make people appreciate “Bridesmaids” even more.

Lionsgate will release “Barb & Star Go to Vista Del Mar” on VOD on February 12, 2021.

Review: ‘Wonder Woman 1984,’ starring Gal Gadot, Chris Pine, Pedro Pascal and Kristen Wiig

December 24, 2020

by Carla Hay

Gal Gadot in “Wonder Woman 1984” (Photo by Clay Enos/Warner Bros. Pictures & © DC Comics)

“Wonder Woman 1984”

Directed by Patty Jenkins

Culture Representation: Taking place in 1984, primarily in Washington, D.C, plus other parts of the world, the superhero action flick “Wonder Woman 1984” has a predominantly white cast of characters (with some Latinos, African Americans and Asians) representing different classes of people.

Culture Clash: Diana Prince, also known as superhero Wonder Woman, battles against a power-hungry business mogul who wants to rule the world, while one of her female co-workers falls into the mogul’s seductive trap and becomes his ally.

Culture Audience: “Wonder Woman 1984″ will appeal primarily to people who like family-friendly, comic-book-based movies that blend action with social issues and goofy comedy.

Pedro Pascal in “Wonder Woman 1984” (Photo by Clay Enos/Warner Bros. Pictures & © DC Comics)

“Wonder Woman 1984” could have been subtitled “Be Careful What You Wish For, You Just Might Get It,” because by the end of the movie, this old adage has been pounded into viewers’ consciousness to the point of being almost numbing. “Wonder Woman 1984” is the sequel to the 2017 blockbuster “Wonder Woman,” which was a less bloated, less sociopolitical movie than “Wonder Woman 1984,” but the original “Wonder Woman” movie took itself more seriously as an action film. Both movies (based on DC Comics’ “Wonder Woman” series) were directed by Patty Jenkins, who did not write 2017’s “Wonder Woman,” but she co-wrote the “Wonder Woman 1984” screenplay with Geoff Johns and Dave Callaham.

The results in “Wonder Woman 1984” are mixed. On the one hand, the movie aims to be a crowd-pleaser appealing to various generations of people. In the first half of the movie, Wonder Woman has the type of fun-loving superhero action that’s almost cartoonish. In a chase scene that happens fairly early in the movie, Wonder Woman (played by Gal Gadot), also known as Diana Prince, thwarts a heist in a shopping mall by singlehandedly apprehending the four thieves who robbed a jewelry store in the mall. She gives a wink and a smile to some awestruck kids who witness this spectacle. There are also several campy moments in the movie with the character who ends up being the story’s chief villain.

But on the other hand, in the second half of the movie, there are some heavy-handed issues about the nuclear arms race, greed and political corruption that overwhelm the plot. And the plot goes a little bit off the rails because it involves people worldwide having to agree to undo a lot of things that already did significant damage. Not even Wonder Woman is that much of a superhuman political diplomat, but “Wonder Woman 1984” tries to bite off more than it can chew with this concept.

The movie’s total running time is a little too long, at two-and-a-half hours. The tone is very uneven, because “Wonder Woman 1984” has some problems balancing the comedic moments with the serious moments. And the visual effects are hit and miss. (Some of the human characters look very fake in CGI action scenes.) Despite the flaws in “Wonder Woman 1984,” it’s still a fairly enjoyable superhero movie, because of the convincing interactions between the characters and because it mostly succeeds as an entertaining story that holds people’s interest.

“Wonder Woman 1984” begins where “Wonder Woman” began: in her female-only Amazon homeland, the island nation of Themyscira, which is supposed to be a place that has secretly existed on Earth for eons. The actresses who portray the Amazons of Themyscira have a mishmash of European accents. A young Diana (played by Lilly Aspell), who’s about 9 or 10 years old, is seen in an intense athletic competition with adult Amazon warriors. There’s no explanation for why Diana is the only child in this competition, which involves several obstacle courses of running, riding horses and shooting arrows through giant circles placed on top of tall structures.

As a princess, Diana is expected to win for her team. But when she falls off of a horse and lags behind her competitors, she decides to take a shortcut to make up for lost time. She ends up finishing ahead of her competitors, but her mentor Antiope (played by Robin Wright), who’s also the competition’s judge, disqualifies Diana as the winner, because Diana cheated and therefore she’s “not ready to be a true winner.”

Diana’s queen mother Hippolyta (played by Connie Nielsen) comforts a disappointed Diana by telling her: “One day, you’ll become everything you dream of and more. And everything will be different. This world is not ready for all that you will do.” In case people don’t know about Wonder Woman already, she seems to be immortal, because as an adult, she’s able to live through several centuries and still look like she’s in her late 20s/early 30s.

The movie then fast-forwards to 1984 in Washington, D.C., where Diana is working at the Smithsonian Museum as a cultural anthropologist and archaeologist. She is grieving over the death of her American pilot boyfriend Steve Trevor (played by Chris Pine), who (spoiler alert) died during a heroic feat in the first “Wonder Woman” movie, which took place in 1918 during World War I. And now, Diana is moonlighting as Wonder Woman, who is only known to the public at this point as a mysterious crime fighter who’s recently been sighted in the D.C. area.

The four thieves who were apprehended by Wonder Woman in the shopping mall weren’t doing a run-of-the-mill theft in a jewelry store. The store had a hidden room with stolen treasure items that were being sold on the black market. One of the items stolen was a citrine, a classic stone used in fake gems throughout history.

A pointed citrine stone that was part of the stolen haul makes its way to the Smithsonian Museum, where the FBI has asked Smithsonian experts to help identify the origins of some of the stolen treasure. One of the Smithsonian experts enlisted for this task is Barbara Minerva (played by Kristen Wiig), a meek and socially awkward nerd who works in geology, gemology, lithology and cryptozoology.

Barbara is someone who is routinely ignored and/or disrespected by her work colleagues. Her co-workers barely acknowledge her presence when she greets them. Her supervisor Carol (played by Natasha Rothwell) doesn’t even remember interviewing Barbara, or even meeting Barbara, before she asks Barbara for her help with the FBI investigation.

The only person at the Smithsonian who treats Barbara like someone worthy of their social time is Diana, and the two women end up becoming work friends. Barbara and Diana meet when Diana helps Barbara pick some paperwork that Barbara accidentally dropped out of a briefcase on a lobby floor at work. Barbara is desperate for a friend, so she asks Diana to lunch, but Diana says she’s too busy.

However, Diana and Barbara end up in the same room with the stolen treasures in the FBI investigation. And the two women find out that they both have a shared passion for ancient artifacts. The citrine stone is not considered one of the more valuable items, in terms of monetary value. And during their conversation, it’s mentioned that the legend of the stone is that it can grant one wish to the person who holds the stone. Diana holds the stone and silently wishes for Steve to come back to life.

Diana and Barbara have dinner together that day. And over dinner, they talk about their lives. Barbara is a stereotypical middle-aged spinster who lives alone, has no kids and has no love life. The only cliché about this lifestyle that Barbara doesn’t have is a pet cat. But she actually does become a “cat lady” later on in the story.

When Barbara asks Diana if she’s ever been in love, Diana tells her that she used to be in love with an American pilot, who died. Diana doesn’t give any further details, but she makes it clear that she’s still heartbroken and not ready to move on to someone else. Barbara is very insecure about her looks and her prospects of finding love, but Diana tries to give Barbara a confidence boost throughout their conversation.

Diana compliments Barbara by telling her that she’s one of the most natural and funniest people she’s ever met. Barbara is surprised because she’s not used to hearing flattering remarks about herself. She tells Diana, “People think I’m weird. They avoid me and talk about me behind my back and think I don’t hear them.”

After this friendly dinner, Barbara is walking through a park by herself and gives her dinner leftovers to a homeless man. And soon afterwards, a middle-aged drunk and disheveled man (played by Shane Attwooll) accosts her and tries to get her interested in him. Barbara rebuffs his advances and he gets physically aggressive with her. It’s about to turn into a full-blown assault, but Diana comes to the rescue and pushes the man away with such force that he’s thrown to the ground and becomes temporarily incapacitated. Barbara thanks Diana for helping her, and this incident further strengthens their trust in each other and their budding friendship.

When Barbara goes back to her office, she sees the citrine stone and holds it. She says out loud, “I do know what I wish for: I wish to be like Diana: strong, sexy, cool, special.” The stone glows and there’s a slight wind that passes through the air. These visual effects are kind of cheesy, but they work.

Diana goes home and finds out that Steve is there and he has been reincarnated in the body of an unnamed handsome man (played by Kristoffer Polaha), who seems to have no idea that his body is now inhabited by someone who died in 1918. The rest of the world sees the unnamed man as his actual physical self, but Diana only sees Steve when she looks at the man. And that explains why actor Pine is shown as Steve during this reincarnation. (It’s not a spoiler, since Steve’s return was already shown in the trailer for “Wonder Woman 1984.”)

Meanwhile, there’s a slick and sleazy business mogul named Maxwell “Max” Lord (played by Pedro Pascal) who’s all over TV with commercials for his company Black Gold Cooperative, which is described as “the first oil company by the people, for the people.” It should come as no surprise that this company and this mogul are not at all what they want people to think they are.

Maxwell’s real last name is Lorenzano, and its later revealed that he’s an ambitious Latino immigrant who changed his last name and appearance (he dyed his hair blonde) to appear more Anglo. He’s also a divorced father who has weekend visitations with his son Alistair (played by Lucian Perez), who’s about 7 or 8 years old. Maxwell is shown to be a very neglectful father, and his bad parenting is used as a “pull at your heartstrings” plot device in several scenes in the movie.

Maxwell finds out that the citrine stone is at the Smithsonian Museum. And so, he shows up at the museum one day, under the pretense of wanting to possibly donate millions of dollars to the department that has the stone. Barbara is immediately charmed by Maxwell’s flirtatious manner, while Diana is coolly skeptical.

Maxwell can see that Barbara is a lonely woman who’s desperate for attention, so he continues to flirt with her and makes it clear that he wants to date her. People who aren’t familiar with the “Wonder Woman” comic books can still easily figure out where the storyline is going to go with Barbara, because it’s similar to the more famous Catwoman story arc in DC Comics’ “Batman” series. And the trailer for “Wonder Woman 1984” already revealed the result of Barbara’s metamorphosis when there’s a showdown between her and Wonder Woman.

Not all of the action takes place in Washington, D.C., because there’s a subplot that takes Maxwell, Steve and Diana/Wonder Woman to Egypt, where an oil baron named Emir Said Bin Abydos (played by Amr Waked) has a pivotal role in the story. There are also many scenes that are supposed to take place simultaneously in different areas of the world, during the last third of the movie when the plot becomes a bit of a mess. “Wonder Woman 1984” falters when it becomes a little too much of a political statement about the nuclear arms race in the 1980s. The movie redeems itself when it focuses more on human interactions that are more relatable to everyday people.

The romance between Diana and Steve picks up right where it left off, but in “Wonder Woman 1984,” it’s more playful and amusing than it was in “Wonder Woman.” Steve’s culture shock of living in 1984 is used for great comical effect, as he marvels at 1984 fashion and other things that didn’t exist in 1918, such as escalators, breakdancing and computer-controlled planes. And the rampant materialism and capitalism that defined the 1980s in the United States are shown in not-so-subtle ways throughout the movie, as exemplified in everything from crowded shopping malls to the greedy villain Maxwell Lord.

Fans of Wonder Woman in the DC Comics, the 1970s movie series and as part of the DC Extended Universe will find plenty of things to like about “Wonder Woman 1984.” There are references that stay true to Wonder Woman canon, with a few tweaks here and there. (For example, in the comic books, Barbara Minerva is British, not American.)

And there’s a mention of Asteria, a legendary Amazon from Themyscira who was the first owner of the Golden Eagle armor that Wonder Woman wears in “Wonder Woman 1984.” It’s explained in the movie that Asteria sacrificed herself by wearing the armor while holding off the men who invaded Themyscira. Look for a cameo during the movie’s end credits that will delight a lot of Wonder Woman fans.

Gadot’s portrayal of Wonder Woman/Diana Prince can sometimes be a little wooden, but her best moments in the film are in expressing Diana’s grief over the death of Steve. At times, she looks more like a model playing dress-up as Wonder Woman rather than a bona fide action hero, but the visual effects go a long way in adding excitement to the action scenes. Gadot and Pine’s chemistry together isn’t very sexy or passionate, but it is fairly believable in their portrayal of two people who respect each other and were friends before they became lovers.

And for someone who died in 1918 (when women in the U.S. didn’t even have the right to vote), Steve is extremely enlightened in how quickly he adapts to feminist ideals of gender equality. He doesn’t feel threatened or act offended in situations where Diana/Wonder Woman has more abilities and greater strength than he does. At the same time, he doesn’t shrink from expressing his masculinity and showing his talent and skills.

It should come as no surprise that Steve gets to fly a modern plane. One of the best visual scenes in the film is when Steve and Diana fly in an invisible plane through a stunning display of Fourth of July fireworks. Nitpicky viewers will have to assume that the plane has an invisible shield to protect it from the firework explosions.

Because “Wonder Woman 1984” takes quite a bit of time developing the dramatic storylines for Barbara and Maxwell, there might not be as much action in the movie as some people might expect. Most of the suspense comes in the last third of the movie. To get to that point, viewers have to sit through seeing Maxwell become increasingly unhinged in an over-the-top way that often veers into being unintentionally comical.

Pascal’s portrayal of Maxwell as the chief villain is done in broad, over-the-top strokes. Viewers know from the beginning that he’s corrupt, and there’s almost no humanity in this character for most of the movie as he gets more and more maniacal. Wiig fares much better with her portrayal of the emotionally wounded and ultimately misguided Barbara. Her character can be viewed as a symbol of the negative effects of “silent bullying”: when people are treated as outcasts not by insults in their face but by being shunned and ignored.

It’s clear that the filmmakers of “Wonder Woman 1984,” just like the 2019 film “Joker,” wanted to have something more to say about society’s problems and international politics instead of being just another movie based on comic book characters. However, unlike “Joker,” which had an unrelenting but consistent dark and depressing tone, the tone of “Wonder Woman 1984” jumps over the place—and that inconsistency lowers the quality of the movie. Sometimes there’s nothing wrong with being a lighthearted superhero movie instead of trying to tackle heavy social issues. And sometimes “saving the world” in a superhero movie doesn’t mean you have to get bogged down in international politics over weapons of mass destruction.

“Wonder Woman 1984” was released in cinemas in various countries outside the U.S. on December 16, 2020. The movie’s U.S. release date in cinemas and on HBO Max is December 25, 2020. In the United Kingdom, “Wonder Woman 1984” is set for a VOD release on January 13, 2021.

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