“Wonder Woman 1984” takes place, as the title proclaims, in 1984.

It’s a wonder why the DC Comics superhero finds herself in the year 1984.

Perhaps the film-makers are giving a nod to George Orwell’s “1984,” the 1949 novel credited with portraying a future that some social scientists say has become a reality in some nations. “1984” has provided terminology that has entered the lexicon: Thought Police, Big Brother, and the Cult of Personality.

“Wonder Woman 1984,” or “WW84” as it’s dubbed, is about a power-hungry CEO and TV personality, Maxwell “Max Lord” Lorenzano (Pedro Pascal), whose business is going bankrupt. He gains superpowers from a Dreamstone, an ancient quartz crystal that he steals from the office of The Smithsonian Institute, Washington, D.C., archaeologist Barbara Ann Minerva (Kristen Wiig).

Diana Prince-Wonder Woman (Gal Gadot), reteaming with her old flame, Steve Trevor (Chris Pine), uncovers Max Lord’s plan. It’s up to them to prevent him from seizing power over the world.

The movie opens with a prologue depicting the young Diana (Lilly Aspell, reprising her role from “Wonder Woman,” 2017) competing in an athletic competition on the mythical island of Themyscira against older Amazons overseen by Queen Hippolyta (Connie Nielsen). Antiope (Robin Wright) disqualifies Diana because she took a shortcut after falling off her horse.

The scene, which plays out like TV’s “American Gladiators” (1989-1996) and other reality TV show contests of strength, sets in motion the movie’s theme about the importance of telling the truth.

“WW84” is a sequel to “Wonder Woman” (2017) and the ninth installment in the cinematic DC Extended Universe. Gadot is back as is Patty Jenkins (director, “Monster,” 2003), directing from a screenplay she co-wrote with Geoff Johns (screenplay, “Aquaman,” 2018; TV’s “The Flash,” 2014-2020) and Dave Callaham (screenplay, “Zombieland: Double Tap,” 2019; “The Expendables,” 2010), based on a story by Johns and Jenkins and DC Comics characters created by William Moulton Marston.

The screenplay has a very convoluted through-line, with little in the way of the snappy dialogue that we’ve come to expect in superhero films, not enough quiet moments and dialogue between Gadot and Pine to create an emotional resonance of the characters with the movie-goer, and so-so action sequences that are often blurry.

The cinematography appears to be an intentional throwback to 1980s and even 1970s visuals in art design, pacing and substance (or lack thereof). The attire, furnishings, architecture and vehicles create an authenticity.

“WW84” recalls the sensibility of the movies, “Superman” (1978) and its 1980 and 1983 sequels, and “Batman” (1989). There’s also a campy sensibility akin to the “Batman” TV series (1966 - 1968). One half expects the screen to explode with “Bang,” “Zoom,” “Kapow” and “Holy Cow” catchphrases.

There is a scene with cows in “WW84,” but that’s a horse of a different color. The screenplay seems to throw in everything but the kitchen sink. In one debris-strewn field, there may even be one of those.

“WW84” takes itself way too seriously. Who doesn’t want to save the world? That alone is not enough to propel a movie plot.

If you’re a fan of DC Comics, Wonder Woman, and especially, Gal Gadot and Chris Pine, then “Wonder Woman 1984” is worth seeing. If not, then not.

Gal Gadot (“Wonder Woman,” 2017; “Fast and Furious,” 2015, 2013, 2011, 2009) is a compelling screen presence. Her face has a forthright charm. Her body is wonderfully-suited (pun intended) to Wonder Woman flying through the air on the tether of her golden Lasso of Truth, aka Magic Lasso.

Chris Pine (“Star Trek,” 2016, 2013, 2009; “Into The Woods,” 2014) is an excellent foil as Steve Trevor to Gadot. His face is undeniably handsome. His body is buff and up to the superhero physicality.

Pedro Pascal seems to be channeling a young Donald Trump and Marlon Brando as the arch villain. It works.

Kristen Wiig is a hoot as Barbara Ann Minerva. She’s not as effective, and it’s the fault of the costume and makeup department and special effects crew, when she transforms into Cheetah, which looks more like an outcast from the cast of the movie version of the Broadway musical, “Cats” (2019).

“Wonder Woman 1984” is a movie that doesn’t live up to expectations. The original “Wonder Woman” movie, as well as the TV series, was so much fun. “WW84”? Not so much.

A third movie installment of “Wonder Woman,” with Gal Gadot reprising her role and Patty Jenkins returning as director, has been announced. I look forward to it.

“Wonder Woman 1984”:

MPAA rated PG-13 (Parents Strongly Cautioned Some material may be inappropriate for children under 13. Parents are urged to be cautious. Some material may be inappropriate for pre-teenagers.) for sequences of action and violence; Run Time: 2 hrs., 31 mins.; Genre: Action, Adventure, Fantasy. Distributed by Warner Bros.

Credit Readers Anonymous:

Stay to the “Wonder Woman 1984” end credits for a scene with Lynda Carter, who played Wonder Woman on the TV show (1975-1979), as Asteria. “WW84” was filmed in Warner Bros. Studios, Leavesden; London, and Duxford, England; the District of Columbia; Northern Virginia; Tenerife, Fuerteventura, the Canary Islands, and Almería, Andalusia, Spain.

At The Movies:

The Dec. 12 restrictions by Pennsylvania Gov. Tom Wolf that closed movie theaters, among other venues, were lifted Jan. 4 and I, along with Michael “Movie Maven” Gontkosky, were among the first in the Lehigh Valley to see the theatrical release of “Wonder Woman 1984” (which opened theatrically elsewhere Dec. 25) at AMC Center Valley 16, The Promenade Shops at Saucon Valley, Upper Saucon Township. The film was seen in the IMAX format.

Movie Box Office,

Jan. 15-17: “The Marksman” opened at No. 1 with $3.2 million, on 1,975 screens, ending the three-week No. 1 reign of “Wonder Woman 1984,” which dropped one place to No. 2, with $2.6 million, 2,201 screens, $35.8 million, four weeks.

3. “The Croods: A New Age” dropped one place, $2 million, 1,855 screens; $39.2 million, eight weeks. 4. “News Of The World” dropped one place, $1 million, 1,953 screens; $8.5 million, four weeks. 5. “Monster Hunter” dropped one place, $920,000, 1,694 screens; $9 million, five weeks. 6. “Fatale” dropped one place, $530,000, 1,175 screens; $4.7 million, five weeks. 7. “Promising Young Woman” dropped one place, $430,000, 1,333 screens; $3.3 million, four weeks. 8. “The Emperor’s New Groove,” $169,000, 744 screens, opening, 2021 re-release. 9. “The War With Grandpa,” starring Allentown’s Oakes Fegley, dropped one place, $155,563, 422 screens; $19.2 million, 15 weeks. 10. “Pinocchio” dropped three places, $140,975, 660 screens; $1.3 million, four weeks. 11. “Come Play,” starring Allentown’s Winslow Fegley, dropped two places, $103,000; 159 screens; $9.8 million, 12 weeks.

Movie Box Office,

Jan. 8-10: “Wonder Woman 1984” continued at No. 1 for three weeks, with $3 million, on an undisclosed number of movie screens; $32.6 million, three weeks. The rest of the Top 10 stayed in place, with the exception of “Come Play,” which moved up one place, and “Alien,” which moved down one place.

2. “The Croods: A New Age,” $1.8 million, 1,818 screens ; $36.8 million, seven weeks. 3. “News Of The World,” $1.2 million, 1,986 screens; $7 million, three weeks. 4. “Monster Hunter,” $1.1 million, 1,765 screens; $7.8 million, four weeks. 5. “Fatale,” $656,606, 1,222 screens; $3.9 million, four weeks. 6. “Promising Young Woman,” $566,285, 1,448 screens; $2.7 million, three weeks. 7. “Pinocchio,” $220,968, 821 screens; $1.1 million, three weeks. 8. “The War With Grandpa,” starring Allentown’s Oakes Fegley, $154,789, 385 screens; $19 million, 14 weeks. 9. “Come Play,” starring Allentown’s Winslow Fegley, $95,430; 151 screens; $9.6 million, 11 weeks. 10. “Alien,” $60,000, 456 screens; $135.000, two weeks, 2020 re-release.

Movie box office information is from Box Office Mojo.

Unreel,

Jan. 22:

“No Man’s Land,”

PG-13: Conor Allyn directs Jake Allyn, Frank Grillo, George Lopez, and Andie MacDowell in the Action, Adventure, Thriller. A man accidentally kills a Mexican immigrant along the Texas-Mexico border.

“Our Friend,”

R: Gabriela Cowperthwaite directs Dakota Johnson, Casey Affleck, Jason Segel and Cherry Jones in the Drama. A best friend moves in with a family.

“Breaking Fast,”

No MPAA rating: Mike Mosallam directs Haaz Sleiman, Michael Cassidy and Veronica Cartwright in the Comedy, Drama. A practicing Muslim in West Hollywood breaks his fast during Ramadan.

Unreel,

Jan. 15:

“The Marksman,”

PG-13: Robert Lorenz directs Katheryn Winnick, Liam Neeson, Teresa Ruiz and Juan Pablo Raba in the Action Thriller. An Arizona rancher defends a Mexican boy fleeing drug cartel assassins.

“Don’t Tell a Soul,”

R: Alex McAulay directs Fionn Whitehead, Jack Dylan Grazer, Mena Suvari, and Rainn Wilson in the Drama, Thriller. Two teenage brothers steal money to help their sick mother. They encounter a security guard trapped at the bottom of a well.

“Some Kind of Heaven,”

No MPAA rating. Lance Oppenheim directs the Documentary that profiles four residents of The Villages, Lake, Sumter and Marion counties, in Central Florida, a 32-square-mile 55-plus retirement community.

Movie release dates are from Internet Movie Database.