Wonder Woman 1984 (2020)
151 min|Action, Adventure, Fantasy|25 Dec 2020
5.3Rating: 5.3 / 10 from 308,054 usersMetascore: 60
Wonder Woman finds herself battling two opponents, Maxwell Lord, a shrewd entrepreneur, and Barbara Minerva, a friend-turned-foe. Meanwhile, she also ends up crossing paths with her love interest.

Setelah penantian selama sembilan bulan di masa pandemi panjang ini, akhirnya film besar kembali ke bioskop tanah air  yang di awali dengan Wonder Woman 1984 (WW84). Film sekuel Wonder Woman (2017) ini kembali disutradarai oleh Patty Jenkins yang kembali berkolaborasi bersama para bintangnya, yakni Gal Gadot, Chris Pine, Robin Wright, serta pendatang baru Kristen Wiig serta Pedro Pascal. Dengan bujet USD 200 juta, apakah WW84 mampu mengulangi sukses film pertamanya?

Setelah peristiwa dalam film pertamanya, Diana (Gadot) kini mendedikasikan dirinya sebagai penolong umat manusia. Berlatar tahun 1984, di sela-sela aktivitas heroiknya, Diana kini bekerja di Museum Smithsonian Washington DC, AS di mana ia bertemu dengan karyawati baru Barbara Minerva (Wiig). Barbara tengah menyelidiki sebuah batu kuno misterius yang ternyata memiliki kemampuan magis istimewa. Seorang pebisnis komersial televisi, Maxwell Lord ternyata sudah sejak lama mengincar batu kuno ini. Tanpa mereka sadari, batu ini telah mengabulkan keinginan mereka yang rupanya memiliki konsekuensi besar yang bisa mengubah takdir dan hidup mereka.

Film ini di buka dengan amat meyakinkan melalui adegan kilas-balik yang menyajikan satu perlombaan ksatria yang diikuti Diana kecil di Themyscira. Satu segmen kecil ini saja sudah mampu menggambarkan adegan aksi dinamis dengan pencapaian visual mengagumkan plus kini tambahan musik powerful menghentak khas komposer kawakan Hans Zimmer. Ekspektasi besar menanti di depan mata, tidak hingga kisahnya yang absurd secara perlahan tapi pasti mulai merusak filmnya. Bagaimana bisa?

Baca Juga  Tersanjung: The Movie

Ini bukan masalah ”lampu jin Alladin” yang bisa memohon apa saja dan langsung dikabulkan. Genrenya memang memungkin segala jenis unsur magis bisa masuk di dalamnya. Tapi jika sudah berhadapan dengan logika cerita, ini jelas sulit untuk ditolerir. Ini tidak hanya sekali dua kali tapi berkali-kali. Kisah film ini sudah mati sejak ini diabaikan. Untuk mudahnya begini, jika kamu percaya bahwa Steve Trevor, seseorang yang tidak bisa membedakan antara tong sampah dengan karya seni, bisa menerbangkan pesawat jet modern yang jauh di luar pengetahuannya, maka kamu tidak ada masalah dengan film ini. Jika sebaliknya, maka ini bukan filmmu.

Dengan semua pencapaian estetiknya yang memukau, Wonder Woman 1984 tidak mampu mengangkat kisah yang cukup kuat untuk sekadar mengindahkan nalar yang dibuatnya sendiri. Kisahnya yang kelewat absurd membuat sulit untuk bisa larut dalam cerita filmnya. Filmnya menjadi terasa amat panjang dan sangat membosankan. Bahkan sekuen-sekuen aksinya pun, sudah tidak mampu menggoda seperti di segmen pembuka. WW84 tidak lebih dari Justice League yang mengumbar kekuatan visual tanpa roh yang cukup untuk mengangkat semangat pahlawan super dengan misinya yang mulia. Wonder Woman (2017) adalah satu contoh yang mampu melakukan itu semua dengan baik.

Stay safe and Healthy!

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Artikel SebelumnyaSong Bird
Artikel BerikutnyaThe Kid Detective
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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