Willow Maclay’s review published on Letterboxd :
"When they arrive in London it is very noticeably a shit hole & Steve Trevor proclaims “it's an acquired taste”. Diana is a fish out of water in the middle portion of the film both wowed by the simple pleasures of the world like ice cream & outright offended by the sexism imposed upon her. Wonder Woman's feminist edges are inherent within the character, but when faced with 1910s London she sees firsthand the ways in which she is underestimated, shackled and her desires kept at bay. Diana constantly has to prove herself in the eyes of her male colleagues, which both rings true as a commentary on the daily lives of women everywhere & with the idea of a Superhero movie about a woman, but she does so with grace, class & occasionally the wrath needed to actually get things done. In the film's best sequence Trevor, Diana and their band of misfit soldiers who would rather be anything else, approach the front-lines. Diana insists upon driving ahead and freeing a small village from enslavement & torture, but is driven down by Trevor & the other men that it is impossible to change the course of war single-handedly. Diana doesn't listen and marches forward. In beautiful slow motion, the best usage of it since probably Paul W.S. Anderson's Resident Evil franchise or even The Wachowskis sisters Matrix trilogy, she is captured repelling bullets, landing non-lethal blows and disrupting machine gun fire before entering the war ravaged community to free the people from the German rule. Slow motion is an important tool within this movie to capture heroics. Comparatively, modern action in movies about superheroes never capture the otherwordly abilities of their heroes in a satisfying way. Frequently, these action sequences are shot in drab surroundings and use mechanical fight choreography, close-ups, and editing influenced by Paul Greengrass's now famous shakey-cam techniques established within his Jason Bourne films. Jenkins, however, shoots Diana with grace, constantly giving her the space to move freely while capturing her athleticism and her thought process within combat. Diana's lasso is an added plus as it gives viewers a literal map to follow with its glowing presence and circular movement creating momentum as the hero moves forward. Jenkins also uses space well, shooting her action frequently in medium shots and never chopping the image up to obscure the movement of the character. "
Read the full review here