Sometimes, movies can teach its audience a valuable lesson. The lesson I took away from this one? Never question a woman when she has an opinion in the war room. Ever. This historical superhero adventure released worldwide on June 2nd, 2017, grossing over $220 million in the opening weekend. It took years for the character to make her onscreen debut, with Joss Whedon making attempts at it in the late 1990’s. Under the reigns of Monster director Patty Jenkins, Warner Bros. finally gave her a solo film this year. The titular character from DC Comics, played by Gal Gadot, lives on her paradise island of Themiscyra with her fellow female Amazon warriors. When American pilot Steve Trevor lands on their doorstep, Princess Diana is swept up into the War to End All Wars. Now, she must find the God of War Ares, who she believes is causing the conflict, and save humanity from tearing itself apart. Going into Wonder Woman, there was a certain level of expectations I had set. In the past, I was probably way too forgiving to Suicide Squad and Batman v Superman: Dawn of Justice was a massive disappointment. But listening to the initial critical reactions, I was wondering if it would truly be the first great movie of the DC Extended Universe. Well, I’m very happy to report that that is the case. The biggest thing at the forefront of this film is the character interactions, particularly between Steve Trevor and Diana. And that is arguably the strongest aspect of the entire movie. Gal Gadot is practically flawless as the main hero, showing off all the charisma and charm of any cinematic male superhero you could think of. Her gradual discovery of mankind’s capability for violence and compassion gives her a genuine arc, rather than some god who is perfect at everything. Chris Pine is a magnificently funny counterpart to her in both essence and philosophy. While Diana believes strongly in the inherent goodness of man, Trevor is more world-weary and idealistic. Their back-and-forth banter is written sharply. In fact, the biggest thing distinguishing this film from its predecessors is just how funny it is. Previously, both Man of Steel and Batman v Superman were total gloom-fests and Suicide Squad has some trouble finding its identity with a lack of balance. But Wonder Woman emerges with zero shame in its protagonist, highlighting much of the absurdity in a comical light. Is it cheesy and cliched sometimes? Yes, it is. You’ll likely hear this in many other reviews, but this charm is reminiscent of Christopher Reeve’s Superman from 1978, the granddaddy of all modern superhero films, regardless of license. The period setting and “God-is-a-fish-out-of-water” premise are also familiar with 2011’s Captain America: The First Avenger and Thor. To be clear, Wonder Woman is better and funnier than either of those two, but seeing that kind of influence is just so amusing. The funniest segment comes in the portion set in London when they come to visit higher-ups. Not only does Lucy Davis nail the role of Steve Trevor’s secretary, but there was a scene when Diana saved Trevor from thugs in an alleyway. Yet again, that reminded me of Richard Donner’s classic. The main villains were a mixed bag for me. Two of them were actually interesting and it was rather nice to watch their plans unfold. However, I felt that the reveal of Ares in the final act was ruined by a bit of miscasting and predictability. And like the previous installments of the DC Extended Universe, as well as arguably Guardians of the Galaxy Vol. 2, Wonder Woman‘s final battle is a CGI-heavy festival of explosions and fantasy elements. It wasn’t necessarily a mess, it was relatively easy to follow but felt drawn-out. Speaking of action scenes, when they do happen in the movie, they are absolutely riveting to behold. The greatest and by far most memorable sequence in the entire movie is when our heroes are trying to help their comrades survive a bit of trench warfare. Diana brings out her outfit, shield and God-Killer sword, and walks into No Man’s Land determined to bring down the Kaiser’s men. In some ways, this was the centerpiece of the film, elevated by Martin Walsh’s fast-paced editing and Rupert Gregson-Williams’ pulsating orchestral score. Mixing the titular character’s electric guitar-driven theme song from Batman v Superman with swelling strings and horns is an interesting play. Also worth noting, pop artists Sia and Labrinth wrote an original song for the soundtrack called “To Be Human,” which plays as the credits begin to role. Fans should hold out to listen to a rather inspirational song. Just don’t expect any post-credits scenes of any kind while you’re at it. Ultimately, this movie has a message. A very important and relevant message that all of mankind, let alone comic book fans, need to be reminded of. As most of the film is told through the eyes of Diana/Wonder Woman, we see the human world as she does: grimy, desperate, washed away, and on the brink of self-destruction. But she also sees that as deeply flawed as it may be, and as evil the atrocities it can commit throughout history, humanity is still worth saving from the darkness. Incredibly challenging and uplifting, this message is the kind of optimism and hope our world desperately needs right now. My faith in humanity has been what it’s always been, but movies like this remind me of something that seems impossible to conceive of, yet easy to grasp. That, or I have no idea what the hell I’m actually talking about. With thrilling action, tons of heart, great acting, and clever homages to the original films of the genre, Wonder Woman is a love letter to female empowerment and a celebration of man’s worth for salvation. Go see this movie and support it actively. And then buy it on Blu-Ray. That’s what I’m doing next.