---
title: "Wonder Woman 1984"
year: 2020
kind: "film"
canonical: "https://film.one/film/wonder-woman-1984"
fi1m_id: "wonder-woman-1984"
imdb_id: "tt7126948"
tmdb_id: 464052
wikidata_id: "Q33408623"
fi1m_score: 52
critics_score: 62
critics_reviews: 30
published: "2026-10-05T15:39:34.650892+00:00"
updated: "2026-10-05T15:39:35.098997+00:00"
region: "AU"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Wonder Woman 1984 (2020)

Directed by Patty Jenkins · 2h 31m · ACB M · Action, Adventure, Fantasy

## Identity

Wonder Woman 1984

- **Canonical:** https://film.one/film/wonder-woman-1984
- **Type:** Film
- **Fi1m ID:** wonder-woman-1984
- **IMDb ID:** tt7126948
- **TMDB ID:** 464052
- **Wikidata ID:** Q33408623
- **Same entity:** https://www.imdb.com/title/tt7126948/, https://www.themoviedb.org/movie/464052, https://www.wikidata.org/wiki/Q33408623

**Fi1m score: 52** · Critics 62 from 30 reviews

*In a sentence:* Chris Pine is good company, but 151 minutes is a long visit

> Gal Gadot and Chris Pine give this overlong superhero sequel some welcome warmth. Patty Jenkins’s belief in kindness survives the muddle, but the crowded plot and uneven action make it difficult to recommend.

## Synopsis

Diana Prince (Gal Gadot) intervenes when trouble breaks out at a shopping centre, using her lasso to protect the people caught up in it. Her personal life draws in Steve Trevor (Chris Pine), while a friendship with Barbara Minerva (Kristen Wiig) gives her another connection beyond her work as a heroine. Barbara has insecurities of her own, and Maxwell Lord (Pedro Pascal) adds a further complication. Diana faces questions about what she wants for herself and what she owes other people, with truth and personal responsibility becoming part of the conflict.

## Review

*Wonder Woman 1984* wants its superhero to make kindness seem exciting, and we are happy to give that a chance. Patty Jenkins allows Diana Prince to be generous, vulnerable and pleased to help, but surrounds her with a story that cannot stop adding complications. The result is likeable in patches, too muddled and too long to recommend without substantial reservations. Its 151 minutes leave ample room for competing subplots, several of which never become as interesting as the people playing them.

The early action shows why this could have worked. We smiled at Diana’s lasso work, because it gives her something more inventive to do than trade punches. Matthew Jensen’s colourful cinematography suits that buoyancy, while Aline Bonetto’s production design gives the shopping-centre action an everyday setting that welcomes a little disruption. These passages make helping people look enjoyable. The film works better with an immediate physical problem we can follow.

Gal Gadot is most persuasive when Diana is allowed to want something for herself. Her scenes with Chris Pine have an ease that the busier stretches sorely lack, and their affection gives us a reason to care without requiring another explanation. Chris Pine makes Steve Trevor engaging enough that spending time with him feels like a reasonable use of an adventure film. Kristen Wiig, meanwhile, lets Barbara Minerva’s vulnerability remain visible through the comedy, giving her awkwardness some weight rather than merely asking us to laugh at it.

That attention to people makes the screenplay’s shortcomings more frustrating. Patty Jenkins, Geoff Johns and David Callaham give Diana, Barbara and Maxwell Lord competing demands on our attention, without making their crowded story sufficiently clear. Pedro Pascal supplies exuberance and seems willing to risk looking ridiculous, which is useful in a film this earnest. He is entertaining from moment to moment, but Maxwell Lord needs more development than the writing gives him. Barbara also becomes less interesting than Kristen Wiig’s performance initially promises.

Richard Pearson’s editing struggles to find a satisfying rhythm among those strands. Too often, we are waiting for the film to decide which character deserves our attention, and the pauses between its pleasures become conspicuous. Hans Zimmer’s score pushes for excitement when the story has barely established why the next confrontation matters. As the spectacle grows, the action becomes harder to read, and the earlier pleasure of watching Diana tackle a clear physical problem starts to disappear.

Diana’s generosity remains a reason to stay. The interest in forgiveness, friendship and personal responsibility gives her something worth standing for, and Gal Gadot makes that decency credible. But even a fantastical adventure needs us to understand what its characters are trying to achieve from scene to scene. Against that basic standard of superhero storytelling, the film’s complications are a hindrance, however appealing its intentions. Several of the competing stories needed to be shorter.

This is a difficult choice for an evening when nobody particularly wants to negotiate the viewing. Those already attached to Diana may find Gal Gadot reason enough to accept the digressions, and the romantic scenes offer their own compensation. We would hesitate to choose it for someone mainly seeking brisk action. Affection for these characters will have to do some of the work.

*Fi1m score 52, published 5 October 2026.*

## What the critics say

Most critics lean positive on Wonder Woman 1984, with praise clustering around its optimism, emotional warmth and performances rather than its plotting. Gal Gadot’s vulnerable, sincere Diana is the clearest point of agreement, while her chemistry with Chris Pine earns approval even from several sceptics. Pedro Pascal’s exuberance and Kristen Wiig’s mix of comedy and pathos also attract praise. Supporters find the colourful action inventive and welcome the emphasis on compassion over vengeance.

The spread is wide, however, and even favourable reviews frequently describe an overlong, crowded story and a weak final act. Action that some find joyful strikes others as weightless, while the villains divide opinion over how fully they are developed. Vulture sees a hollow spectacle beneath the charm; The New Yorker objects more specifically to the handling of Wonder Woman’s feminist roots and a Cheetah storyline built around jealousy. The consensus favours the heroine more reliably than the adventure.

## Straight answers

**Is Wonder Woman 1984 worth watching?**

*Wonder Woman 1984* is a mixed choice we score 52 out of 100, with more to offer established Diana fans than anyone seeking brisk action. Gal Gadot and Chris Pine bring welcome warmth, but the crowded storytelling, uneven spectacle and 151-minute runtime make it difficult for us to recommend without substantial reservations.

**How long is Wonder Woman 1984, and what is it rated?**

*Wonder Woman 1984* runs 2h 31m and is rated M by the ACB in Australia. It is an action and adventure film.

**Where can I watch Wonder Woman 1984 in Australia?**

*Wonder Woman 1984* is streaming on HBO Max, Amazon Prime Video and Stan in Australia, and it is also available to rent from Apple TV and Amazon Prime Video from A$4.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Wonder Woman 1984, and is it suitable for children?**

*Wonder Woman 1984* carries a UK 12A certificate, meaning children under 12 need an accompanying adult at the cinema. Its superhero action includes Diana using her lasso to protect people at a shopping centre, with larger confrontations becoming harder to follow; the certificate calls for parental judgement rather than treating it as suitable for every child.

**How does Wonder Woman 1984 compare to Kiki's Delivery Service?**

*Wonder Woman 1984* shares an interest in a helpful heroine with [*Kiki's Delivery Service*](https://film.one/film/kikis-delivery-service), but we recommend the gentler fantasy more warmly. *Kiki's Delivery Service* finds adventure in ordinary work, with humour and feeling despite a few over-tidy lessons; *Wonder Woman 1984* offers superhero spectacle and romantic warmth, but its crowded plot makes helping people less consistently engaging.

**What should I watch after Wonder Woman 1984?**

After *Wonder Woman 1984*, try [*Kiki's Delivery Service*](https://film.one/film/kikis-delivery-service) (1989, Fi1m 86): A young heroine discovers that helping people can be adventure enough. Then [*A Matter of Life and Death*](https://film.one/film/a-matter-of-life-and-death) (1946, Fi1m 92): For romance that makes an extravagant fantasy worth taking seriously.

### Reviews we read (30)

- **Empire**, Ben Travis (85/100, inferred): The critic finds the sequel a vibrant, hopeful adventure that delivers both blockbuster thrills and emotional warmth. They especially praise Gal Gadot’s graceful, unabashedly feminine portrayal of Diana and the film’s uplifting heroism. [Read](https://www.empireonline.com/movies/reviews/wonder-woman-1984/)
- **Evening Standard**, Charlotte O'Sullivan (4/5): O'Sullivan finds the sequel a lovable, exuberant success, though its finale leaves her slightly flat. She especially praises Kristen Wiig's performance as Barbara and Cheetah, singling out her comic timing and pathos. [Read](https://www.standard.co.uk/culture/film/wonder-woman-1984-sequel-review-b323058.html)
- **Los Angeles Times**, Justin Chang (80/100, inferred): Chang finds the sequel exuberant and sincere, praising its overstuffed but cohesive mix of spectacle and satire. He especially singles out Gal Gadot’s magnetic, understated performance as Diana. [Read](https://www.latimes.com/entertainment-arts/movies/story/2020-12-15/wonder-woman-1984-review-gal-gadot)
- **Time Out**, Phil de Semlyen (4/5): The critic finds the sequel overlong but highly likeable and optimistic. They praise Gal Gadot’s performance and Diana’s swamp-draining appeal. [Read](https://www.timeout.com/movies/wonder-woman-1984)
- **Total Film**, Jamie Graham (4/5): The critic calls it a much-needed, optimistic blockbuster that delivers a positive message. They praise the inventive action and its exhilarating choreography. [Read](https://www.gamesradar.com/wonder-woman-1984-review/)
- **IndieWire**, Kate Erbland (B): Erbland finds the sequel joyous and deeply enjoyable, with a worthwhile story about truth and personal responsibility. She especially praises Pedro Pascal’s exuberant performance as Max Lord, while noting that the crowded plot and some action are difficult to follow. [Read](https://www.indiewire.com/criticism/movies/wonder-woman-1984-review-gal-gadot-sequel-1234603077/)
- **The Guardian**, Mark Kermode (75/100, inferred): Kermode finds the sequel entertaining and uplifting, despite its overlong and occasionally baggy plot. He especially praises Gal Gadot’s performance and the film’s joyful presentation of an uncynical heroine. [Read](https://www.theguardian.com/film/2020/dec/20/wonder-woman-1984-review-gal-gadot-patty-jenkins)
- **Radio Times**, Huw Fullerton (70/100, inferred): The review presents the sequel as powerfully entertaining superhero cinema. It praises Pedro Pascal’s performance opposite Gal Gadot and highlights the film’s colourful, action-packed style. [Read](https://www.radiotimes.com/tv/sci-fi/wonder-woman-1984-review/)
- **Variety**, Peter Debruge (65/100, inferred): Debruge finds the sequel entertaining as escapist spectacle but says it loses its way in the chaotic finale. He praises Jenkins for keeping the performances and Diana’s inspiring qualities in focus amid the spectacle. [Read](https://variety.com/2020/film/reviews/wonder-woman-1984-review-sequel-1234853844/)
- **Screen Daily**, Fionnuala Halligan (64/100, inferred): The review’s full verdict is unavailable in the accessible page text. The standfirst only notes the reunion of Gal Gadot and Patty Jenkins amid strange times. [Read](https://www.screendaily.com/reviews/wonder-woman-1984-review/5155711.article)
- **RogerEbert.com** (63/100, inferred): The page content is unavailable, so the critic’s verdict cannot be established. No praise or complaint can be identified from the accessible text. [Read](https://www.rogerebert.com/reviews/wonder-woman-1984-2020)
- **The New York Times** (63/100, inferred): The URL identifies a review of Wonder Woman 1984, but the article text is unavailable. Its verdict and any praise or criticism cannot be verified. [Read](https://www.nytimes.com/2020/12/24/movies/wonder-woman-1984-review.html)
- **Slant Magazine**, Chris Barsanti (2.5/4): Barsanti finds the film entertaining but overlong and weighed down by an overcomplicated story. He praises its nimble, joyful action and its preference for forgiveness over vengeance. [Read](https://www.slantmagazine.com/film/review-wonder-woman-1984-pledges-allegiance-to-hope-and-familiar-tropes/)
- **Little White Lies**, Hannah Strong (4/3/2): Strong finds the sequel muddled and less charming and distinctive than its predecessor. She praises the chemistry between Diana and Steve, while faulting the underdeveloped villains and scattered ideas. [Read](https://lwlies.com/reviews/wonder-woman-1984)
- **The i Paper**, Christina Newland (35/100, inferred): Newland finds the film imaginative and charming in places, but ultimately overlong and weighed down by unnecessary subplots. She especially praises the natural chemistry between Gal Gadot and Chris Pine, with Pine’s charisma anchoring their scenes. [Read](https://inews.co.uk/culture/film/wonder-woman-84-review-gal-gadot-chris-pine-how-to-watch-795807)
- **The Hollywood Reporter**, David Rooney (30/100, inferred): Rooney finds the sequel over-plotted and anticlimactic, despite moments of charm. He praises Gadot’s charismatic performance and the early action sequences, while criticizing the crowded story and underdeveloped villains. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/wonder-woman-1984-film-review-4105223/)
- **The New Yorker**, Jill Lepore (20/100, inferred): Lepore argues that the film fails to engage with Wonder Woman’s feminist roots and the history surrounding its setting. She criticizes its Cheetah storyline for reducing the character to jealousy rather than giving her greater depth. [Read](https://www.newyorker.com/culture/culture-desk/does-wonder-woman-1984-hide-its-heros-true-superpowers)
- **Sight and Sound**, BFI (15/100, inferred): The critic finds the film eminently forgettable and joyless. They fault its overlong, thinly developed story and single out the patronisingly didactic mall scene as especially annoying. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/wonder-woman-1984-gal-gadot-petty-jenkins-retro-superhero-sequel)
- **Vulture**, Angelica Jade Bastién (15/100, inferred): Bastién finds the sequel a hollow, disappointing spectacle that reflects broader problems in superhero filmmaking. She criticizes its muddled story and weightless action, while noting that Gal Gadot and Chris Pine retain some charm together. [Read](https://www.vulture.com/article/wonder-woman-1984-review-an-empty-spectacle.html)
- **Den of Geek**, Rosie Fletcher (4/5): Fletcher finds the film a bold, good-natured, and compassionate superhero adventure, despite weaknesses in its logic and final act. She especially praises its female friendship and vibrant, distinctive style. [Read](https://www.denofgeek.com/movies/wonder-woman-1984-review/)
- **/Film**, Hoai-Tran Bui (8/10): The critic finds the sequel a worthy, compassionate follow-up whose earnest optimism offers a balm for 2020. She especially praises Pedro Pascal’s charismatic, over-the-top performance as Maxwell Lord. [Read](https://www.slashfilm.com/578368/wonder-woman-1984-review/)
- **NME**, Hannah Mylrea (4/5): The review finds the sequel charming, entertaining and uplifting, with a welcome sense of hope. It especially praises Gal Gadot’s vulnerable, human portrayal of Diana. [Read](https://www.nme.com/reviews/film-reviews/wonder-woman-1984-film-review-2839399)
- **Paste**, Michael Burgin (7.6/10): Burgin finds the sequel an improvement, praising its character work and emotional focus while noting its slow stretches and weak villains. He singles out the creative, exhilarating action built around Wonder Woman’s lasso. [Read](https://www.pastemagazine.com/movies/hbo-max/wonder-woman-1984-review)
- **Consequence**, Jenn Adams (72/100, inferred): The review finds the film’s message uplifting, though its plot is messy and its sentimentality can feel excessive. It singles out Steve and Diana’s starlit flight through fireworks as a particularly touching moment. [Read](https://consequence.net/2020/12/film-review-wonder-woman-1984/)
- **Eye for Film**, Jennie Kermode (70/100, inferred): Kermode finds the film flawed but very enjoyable, with a personal story that gives it charm. She praises Gal Gadot’s vulnerable, emotionally convincing performance and the strong character work. [Read](https://www.eyeforfilm.co.uk/review/wonder-woman-1984-2020-film-review-by-jennie-kermode)
- **HeyUGuys** (70/100, inferred): The critic finds it a big, enjoyable romp, though the final act has notable missteps. They praise Gal Gadot and Patty Jenkins for bringing emotional depth to the colourful action spectacle. [Read](https://www.heyuguys.com/wonder-woman-1984-review/)
- **The Ringer**, Miles Surrey (70/100, inferred): The critic finds the sequel messy and flawed but endearing, and argues that its chaotic excess makes it an entertaining standout in the DCEU. He especially praises Pedro Pascal’s delightfully unhinged performance as Maxwell Lord. [Read](https://www.theringer.com/2020/12/28/movies/wonder-woman-1984-review-backlash-pedro-pascal)
- **The Wrap** (70/100, inferred): The critic finds the film fresh, witty, and strong in its social satire, though its effects-heavy finale is unwieldy. Kristen Wiig’s transformation from vulnerable Barbara to deadly Cheetah is singled out for praise. [Read](https://www.thewrap.com/wonder-woman-1984-film-review-ww84-gal-gadot-kristen-wiig/)
- **The Playlist** (64/100, inferred): The URL identifies this as a review of Wonder Woman 1984, but the page content is blocked. The critic’s verdict and any specific praise or complaint cannot be determined. [Read](https://theplaylist.net/wonder-woman-1984-gal-gadot-review-20201215/)
- **Digital Spy**, Gabriella Geisinger (50/100, inferred): Geisinger finds the film entertaining but mechanically plotted and ultimately underwhelming. She singles out Chris Pine’s nuanced, heartfelt performance as its standout. [Read](https://www.digitalspy.com/movies/a34972413/wonder-woman-1984-review/)

## Details

- **Director:** Patty Jenkins
- **Director:** Patty Jenkins
- **Screenplay:** David Callaham, Patty Jenkins, Geoff Johns
- **Story:** Patty Jenkins, Geoff Johns
- **Cinematography:** Matthew Jensen
- **Editor:** Richard Pearson
- **Music:** Hans Zimmer
- **Production design:** Aline Bonetto
- **Costume design:** Lindy Hemming
- **Producer:** Zack Snyder, Charles Roven, Stephen Jones
- **Cast:** Gal Gadot as Diana Prince; Chris Pine as Steve Trevor; Kristen Wiig as Barbara Minerva; Pedro Pascal as Maxwell Lord; Robin Wright as Antiope; Connie Nielsen as Hippolyta; Lilly Aspell as Young Diana; Amr Waked as Emir Said Bin Abydos
- **Runtime:** 2h 31m
- **Certificate (ACB):** M
- **Release (Australia):** 26 December 2020
- **Genres:** Action, Adventure, Fantasy
- **Budget:** $200 million
- **Box office:** $170 million
- **Trailer:** https://www.youtube.com/watch?v=EMgbWouN4wE

## Where to watch in Australia

- HBO Max: streaming, uhd
- Amazon Prime Video: streaming, uhd
- Stan: streaming, hd
- Amazon Prime Video: add-on, uhd
- Apple TV: rent A$4.99, hd
- Amazon Prime Video: rent A$4.99, uhd
- Amazon Prime Video: buy A$14.99, uhd
- Apple TV: buy A$14.99, hd

*Checked 2026-10-05.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Kids' Choice Award for Favorite Movie 2021: Kids' Choice Award for Favorite Movie (won)

## If you liked this

- *Superman* (1978): For superhero decency, romantic chemistry and a lighter touch with the spectacle.
- *The Rocketeer* (1991): A period adventure that keeps its romance and airborne action moving.
- *Kiki's Delivery Service* (1989), Fi1m 86: A young heroine discovers that helping people can be adventure enough. — [Fi1m page](https://film.one/film/kikis-delivery-service.md)
- *A Matter of Life and Death* (1946), Fi1m 92: For romance that makes an extravagant fantasy worth taking seriously. — [Fi1m page](https://film.one/film/a-matter-of-life-and-death.md)
- *The Heroic Trio* (1993): For female superheroes with stranger powers and considerably less reassuring adventures.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/wonder-woman-1984