"Wonder Woman 2020," Excuse Me, "1984."

After sitting on "Wonder Woman 1984" since spring, Warner Brothers finally found a way to roll out one of the year's most anticipated, and re-anticipated, films of the year. Available in theatres and streaming on HBO Max, "Wonder Woman 1984" has arrived in time for another slowdown in public life due to the combined efforts of record Coronavirus numbers and the holiday season. Unfortunately, "1984" still leaves audiences wanting something more as the film fails to tick off all the boxes our starved appetites for entertainment crave.

It's not that "1984" does anything exactly "wrong," per se, the issue is it doesn't really do anything "right." For starters, the biggest need for improvement would be the story. The film itself looks good and sounds good as is basic of any high-budget DCEU film. The technicality of the film tries its best to make up for a predictable and otherwise uninspiring screenplay. The issue is not in the length of the film. Well-received films have gone on much longer. What seems to be lacking is a sense of adventure and world-building. No boundaries are pushed in the making of this film. We've seen it all before. The greedy businessman wants more. The hero doubts herself. A tragic love story is doomed. And, worst of all, the inclusion of the "I'm-a-frumpy-lady-nobody-likes-me-I-have-to-change-everything-about-myself" trope. It's 2020, not 1984.

The film is also not helped by its untimeliness, which is really no fault of its own. How do global disasters, unfulfilled wishes, and lonely characters bode for audiences in 2020? To be honest, the plot of the movie wouldn't have come off any better without the pandemic, but the depressing parallels between Wonder Woman's fictional, cinematic world of 1984 reflects a more accurate depiction of our world than George Orwell could have dreamt of. Let's start with Diana Prince, who is something of a recluse and is obviously bothered dining by herself (emphasis on at least she gets to go out and dine). Dr. Barbara Minerva is the odd-girl-out that gets bullied (at her job!) for being nerdy. And while Maxwell Lord may not really be lonely, he's certainly tormented and spends the whole film trying to prove he's "not a loser." Add on some more global disaster and you do not have fodder for an acclaimed addition to the superhero genre. It is interesting to wonder if Warner Brothers sat on releasing the film for so long because of the film's content in addition to the cost-benefit analysis of a streaming premiere. The entirety of the plot is much too basic and "tropey" for the evolution of the Superhero Movie which was indicated with the initial Patty Jenkins "Wonder Woman."

Gal Gadot (Diana Prince) and Kristen Wiig (Barbara Minerva) carry the film well. Wiig fills the shoes of a more dynamic role while retaining some of her trademark comedic awkwardness which makes Barbara an initially endearing character. Gadot gets to explore a more self-assured and experienced Diana if only to repeat some of the same trials and tribulations of the first film. That said, Gadot's range in the character of Diana Prince is broadened in "1984," much to Gadot's credit. Chris Pine is.... Chris Pine. The decision for his character, Steve Trevor, to come back in a "magic lamp" trope isn't very satisfying. Nonetheless, Pine does his best to ground the character in the absurdity of "1984's" plot. Pedro Pascal has proved time and time again he is an actor that can adapt to his surroundings and vary his performances. Somehow, his role in "The Mandalorian" is more engaging and interesting than his "1984" character. Don't forget that Pascal's eligibility for awards nominations for season 1 of "The Mandalorian" was in question due to the character being masked... So, Lord's banality of a character in "1984" is truly more of a reflection on the story than the actor.

For 2020, "Wonder Woman 1984" is not escapism, and it is not particularly entertaining. There's nothing really new, in story, effects, or character that make the film any different than a run of mill Superhero film reminiscent of the early 2000s. DC, please try to stop being Marvel. The first "Wonder Woman" worked because it was new and still managed to retain some of the rawness that DC has become known for. Whether you like it or not, DC, you've already established your stamp as the grittier side of the Superhero genre. When audiences want Marvel, they will go to Marvel. Stick with what you know: new, raw, gritty, and realistic - yes, even for Wonder Woman.

"Wonder Woman 1984" is rated PG-13 and is available in theatres and HBO Max.