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Diana Prince (Gal Gadot) ist dieses Mal in den Achtzigern unterwegs. Zur Zeit von Kaltem Krieg, Föhnfrisur und Nena bekommt es die Titelheldin mit ihrer ehemaligen Freundin und Kollegin Barbara Minerva (Kristen Wiig) zu tun, die sich in die Bösewichtin und Gepardenfrau Cheetah verwandelt. Sie steht mit dem mysteriösen Geschäftsmann Max Lord (Pedro Pascal) im Bunde, dem es auf mysteriöse Art und Weise gelingt, die Wünsche der Menschen zu erfüllen. Zum Glück kehrt Dianas geliebter, eigentlich im Ersten Weltkrieg gestorbener Steve Trevor (Chris Pine) auf ungeklärte Weise zurück, hat allerdings so seine Probleme, sich in einer Welt zurechtzufinden, die aus seiner Perspektive 60 Jahre in der Zukunft existiert...

Sequel zu „Wonder Woman“.

Veröffentlicht: Dec 16, 2020
Laufzeit: 151 Protokoll
Genre: Fantasy, Action, Abenteuer
Sterne: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen
Crew: Lucinda Syson (Casting), Hans Zimmer (Original Music Composer), Charles Roven (Producer), Patty Jenkins (Screenplay), Patty Jenkins (Director), Patty Jenkins (Producer)

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There are coins and seals and lots of jibber jabber about High Table manners and then “Game of Thrones” star Jerome Flynn shows up as a Bronn-like business type who’s a bit too greedy for his own good (it’s hard to tell what accent Flynn is doing here, but he’s most definitely doing it). When the bullets fly, Sofia’s very Wonder Woman 1984 lend a valuable assist, and Stahelski has to open things up in order to frame the dogs as they chew on fresh corpses. The sequence is very “John Wick” and horribly terrific in a hand-over-your-mouth kind of way; it does more than any of the tossed-off business with the Bowery King (Laurence Fishburn) or the Continental Hotel owner (Ian McShane) to whet our appetites for another adventure. Anjelica Huston is also somewhat wasted as the matriarch of a Harlem ballet academy with ties to Wick’s past, but her scenes are so immaculately shot that you’re willing to let it slide.
In a film that plays fast and loose with NYC geography, all is forgiven by turning 175th street’s United Palace into the “Tarkovsky Theater,” where people are trained to be killers in between performances of “Swan Lake.”
The film’s world-building works best in small doses. A meeting in the middle of the desert is a total dead end, whereas all sorts of fun details can be inferred from Stahelski’s frequent cutaways to the High Table nerve center, where dozens of tattooed and lip-glossed workers monitor Wick’s bounty with an old-fashioned switchboard (imagine a SuicideGirls reboot of “Mad Men” and you’ll have the right idea). Non-binary “Billions” star Asia Kate Dillon plays a stiff and slinky High Table adjudicator who’s covered in Thierry Mugler coture; part referee and part femme fatale, their performance speaks to an underworld that’s sustained by a mutual respect for all people so long as they don’t shoot the wrong target.
While this franchise is starting to feel a bit long in the tooth, such details suggest that screenwriter Derek Kolstad (here sharing credit with three other scribes) can still mine this world for plenty of new life, so long as future installments find a way to deepen the John Wick mythos instead of just stretching it out. With the significant exception of “Mission: Impossible,” this is easily the best action franchise Hollywood has going these days, and it would be great for it to keep going with renewed focus.
The fact that Keanu Reeves is nearing 60 won’t matter to his fans. For one thing, the man is seemingly ageless. For another, retirement no longer seems like a realistic option for a guy who still gets recognized everywhere he goes. It doesn’t matter if you’re a Hollywood star or a $14 million bounty — fame can be a difficult thing to shake. It’s a work-or-die world, and being forgotten is neither on the table nor under it

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