I saw this yesterday and thought there was a lot to like about it; Gal Gadot pulled off a definitive WW that can go alongside the likes of Hugh Jackman, RDJ, Patrick Stewart, Ian McKellen, and Christopher Reeve in terms of completely nailing an already iconic character. For all those characters, I was pretty familiar with them from the comics before their respective films (apart from Christopher Reeve, obv), but now I have the actors' voices in my head whenever I read those characters; I think that'll probably be how it is with Wonder Woman from now on. The WWI setting was executed perfectly, it was central to the plot of the film, and it showed the grimness of it without feeling exploitative. Some of the scenes in France are the most grounded and realistic of any superhero film there is, and the film pulls it off without ever going po-faced or overly serious. For the main meat of the film there's an incredible balance of high fantasy and real world, and that really effectively gave me a sense of the "gods walk amongst us" theme that a lot of superhero films shoot for. Patty Jenkins deserves enormous credit for that.
The friendly side characters in the real world all feel very well utilised with not very many lines. Spud in particular was brilliant, but I also found that Dawn worked really well as a character that could've easily felt too silly (soz, idk the actors' names, just the names of their respective cult favourite on screen portrayals from 10+ year ago). Chris Pine had fantastic chemistry with Gal Gadot, and I found him a lot more likeable than in Star Trek. I'll echo what others have said about how well his character was utilised being a bit of a damning indictment on how rubbish the superhero love interest usually is. Compare him with Peggy Carter in The First Avenger, and that film seems like a relic from a different era. Speaking of relics from a different era; I definitely feel like the bluster about this film being a big feminist triumph and an important turning point for the big screen is very misplaced. What it actually is, is a genre with a pretty glaring gender problem finally taking very very long overdue steps out of The Android's Dungeon. Cinema has been putting high-profile female action leads out there in increasing number every year since superheroes really lifted off with X-Men and Raimi's Spider-Man; but while Brave, The Hunger Games, Star Wars VII, Ghostbusters,and Moana have all shown that the sausage fest winding down, superheroes didn't get that memo.
Anyway, what I really wanted to post about was how badly the beginning and end sections let the film down. Steve crashing on Themyscira until David Thewlis turning into rejected Megadeath album artwork was bloody brilliant, but before and afterwards was clunky af (although I do have to give it up for Chris Pine's performance for those close-ups in the plane, marvelous). I was convinced I was in for a rough ride for lot of the beginning section; maybe that Paris opening meant something to those brave souls who sat through BvS, but it just felt stupid and unwieldy to me, that should have been all at the end. Then kid Diana scenes were just far too much of an exposition dump, just get the broad character beats of Diana and Hypollita drilled in at the beginning, and then deliver a much leaner version of the mythology when Steve shows up. Then the end boss fight with metal David Thewlis just felt like we'd switched to a different film, boring generic beat-em-up blockbuster fare. Celebrations in London which followed were nice, but then we're right back to modern day Paris and what has she been up to in the intervening period, and why only now does she come out of retirement? It felt like it utterly undermined the Diana from the wonderful No Man's Land sequence, who never turned her back on a fight to help those in need. And where's she jumping to? She's going to drop right in the Seine at that rate.