To be honest, I didn’t know if I was going to write anything about Wonder Woman. So many journalists and critics have written excellent, insightful pieces about the film, its importance and impact that it seemed unnecessary to add my voice to the fray.
But then, in the same week, I saw a scathing Guardian headline which described Gal Gadot as a ‘weaponised Smurfette’ and a comment from someone I (still) follow and admire on Twitter which suggested that, while Gadot is good, the film itself was ‘nothing to get excited about.’ #RedRag.
Unravelling in the familiar, close quarters of a Victorian London conversion, the directorial debut of writer David Farr (Hanna, TV’s The Night Manager) aims for the claustrophobic chills of Rosemary’s Baby, but comes closer to the outlandish bunny boiler camp of Fatal Attraction.
While Susanne Bier’s latest may share similar themes with her previous work, Serena, not least the extreme behaviours born out of desperation and the life-changing nature of parenthood, the two could not be more different in their approach. With Serena, Bier’s freedom of expression seemed stifled by an overwritten screenplay and an overwrought romance, not to mention the fact that it was so cloying constructed to showcase its two stellar leads, Jennifer Lawrence and Bradley Cooper. A Second Chance, by comparison, is a force of nature, demonstrating an unflinching honesty both of subject matter and style.