Towards the end of this sprawling, goofy superhero almost-cartoon, one surely modelled on Superman II and III, Gal Gadot's Wonder Woman has trouble pushing her way through a maelstrom of wind and swirling A4 papers — I don't know why — and her plight mirrors that of her audience who have at that point struggled for nearly three hours with this sequel's maelstrom of unclear ideas, left asking questions like, "Whose wishes have been granted and whose wishes have been renounced?", "When a wish is renounced, what shifts in reality take place?", "Why wasn't Steve Trevor simply magicked to 1984 in his own body instead of this movie's convoluted Oh God! You Devil! bodyswapping nonsense?", "Was that schmuck (this movie's Oh God! You Devil! original rockstar) ever missed by anyone?", "What is a broadcasting machine and how is it that a boy on a freeway can communicate with his father via it?", "Why can't today's sfx technology make superfast running look good?" and, the question that most preoccupied me during WW84's exceedingly long runtime: "Do superhero movie studios deliberately ride this wave of excellent originals followed by overcooked, cheap sequels, seeing what they can cheaply get away with once audiences have bought-in?"
★★★☆☆
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