Wonder Woman 1984 (2020)

Rewind to the 1980s as Wonder Woman’s next big screen adventure finds her facing two all-new foes: Max Lord and The Cheetah.

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Quality: Very Good   Size: Small
Director :
Patty Jenkins

Writer :

Geoff Johns (story), Patty Jenkins (story), Dave Callaham (screenplay), Geoff Johns (screenplay), Patty Jenkins (screenplay), William Moulton Marston (Wonder Woman created by)

Actors :
Pedro Pascal| Gal Gadot| Connie Nielsen| Chris Pine|

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Best Review:

The sequel to Wonder Woman 2 by Patty Jenkins is in many ways a work on the mistakes of the first part. The second movie is less monotonous in terms of pictures, there are much more bright and memorable characters, and Pedro Pascal, playing the central antagonist, is in fact the main highlight of the movie. Jenkins has got rid of the mountain of pathos that was in excess in the first movie, made the narration lighter, imitating the spirit of light-hearted adventure films of the mid-80’s – silly, motley and charming in its own way. However, despite all of the above, the sequel, like the first movie, still lacks competent character work, dialogue and action staging.

The second picture takes the viewer straight from the fields of World War I to a cheerful, cartoonish and very fairy-tale 80s with all its attributes, so familiar to anyone who has seen at least one movie in which that era was reconstructed. The heroine, Gal Gadot, no longer feels superfluous in this world – she has adapted to it, successfully leading a double life. By day she is a smart, determined and charming woman with goals and ambitions, by night she is a heroine, rescuing the weak and taming the strong. But Jenkins adds another trait to her character, and that is that the director makes Wonder Woman 2 Torrent vulnerable. On the outside, she remains the strongest woman on the planet, but on the inside, she is torn apart by the loss of a loved one.


Jenkins has made Diana Prince a more human character than the first movie. Zack Snyder never delved into the character’s inner world, as that task should rest on the shoulders of the solo movie. And that’s exactly what the sequel does best: Diana loved once. Gal Gadot’s character fell in love with simple aviator Steve Trevor (Chris Pine) in the first movie, and his heroic self-sacrifice runs a leitmotif through the entire movie. “I save these people, you save this world” – and there’s not a word in that phrase about Diana herself. The director has created a kind of contrast: Diana is both the strongest woman in history and a very weak person who lacks human warmth around her.

Diana wants only one thing: to touch Steve again, to hear his voice. And to set off the heroine’s emotional swing, Jenkins introduces a very lazy but effective macguffin into the story. The entire plot revolves around the ‘infinity stone’, without which, nowadays, in superhero movies nowhere – nothing happens without space/magic artifacts. All the characters in the tape are chasing a certain Stone of Wishes, capable of fulfilling only one cherished request, taking something from the man in return (this detail is not immediately stipulated). Diana, as is not hard to guess, asks for Steve’s return, and in return, the stone takes away the heroine’s power, gradually turning her into an ordinary person.


Yes, viewers have seen a similar plot with a vulnerable superhero more than once or twice. And the sequel “Wonder Woman” in this regard can not offer anything new. The monomyth of a pain-sensitive hero in the hands of Patty Jenkins has nothing fresh to offer. As Batman said in Snyder’s movie, “Can you bleed?” That’s exactly what Jenkins bleeds from her character, making her weaker physically but stronger internally as the story progresses. But whether it’s all interesting to watch is a good question. The main problem with the sequel is that it is unnecessarily long. You can cut a number of scenes from it, it will not affect the main plot, but it will reduce the already overblown for such a movie time frame.

Plus, Jenkins is still no visionary, and she can’t, like Snyder, create epic scenes from a weak script that would make an audience’s jaw drop to the floor in a movie theater. The action scenes are the saggiest part of Wonder Woman 2. For one thing, they are too computer-generated. So computer-generated that in some places the movie looks like a low-grade Bollywood movie. All that is missing is a song every five minutes, which probably would have saved the situation by distracting the viewer from the poor chromakey work. Secondly, Jenkins has nothing interesting to offer in terms of camera work, staging or concept – the action scenes are simply boring to watch.


There’s a simple explanation for that: Patty Jenkins clearly wasn’t particularly fired up about those scenes herself, having ended up doing them with her hands down. The director really cares about the characters and their inner conflicts and tragedies, which is what the script is built on. Jenkins builds all the conflicts around one idea, telling the stories of people who dreamed of something, wanted to achieve something, painted their worlds in their heads, but the harsh real world has crossed out everything a person could have dreamed of. That’s why all the characters are chasing after the Stone of Desire, since everyone has been dreaming of something since childhood.

The most striking character in this regard is Max Lord (Pedro Pascal), an oil showman who gets away with everything. Pascal plays not so much an antagonist as an anti-hero with a very clichéd but effective story within the plot. He is really interesting to watch, because the viewer not only understands why and why the villain does certain things, but also sees him as a confused person, just like Diana herself, who needs help. And Pascal plays his character so expressively and sensitively that by the end we can hardly help feeling the tragedy of his character – the tragedy the director has chosen for his character is so familiar to millions of people.


All in all, “Wonder Woman: 1984” is a typical summer blockbuster, which should have been released in the summer, if it were not for the closed cinemas because of Covid-19. To many, the movie may seem overly naive and fairy-tale glossy, in which a New Year’s Eve miracle literally happens. But all this lightness only goes to the picture of Patty Jenkins. The first picture was too serious, too pathetic and tried to be more than it really was. The sequel, on the other hand, is silly, colorful and in some places very, very funny. And it doesn’t try to seem like something else, remaining itself: a banal blockbuster, which is enough without it, but the Jenkins movie fulfills its entertaining function with gusto.

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121, за 0.148 в 27 Feb 2021 - 13:08