Wonder Woman is a 2017 superhero film based on the DC Comics character Wonder Woman. Directed by Patty Jenkins from a screenplay by Allan Heinberg, and based on a story by Heinberg, Zack Snyder, and Jason Fuchs, it is the fourth film in the DC Extended Universe (DCEU). Gal Gadot stars as Diana Prince / Wonder Woman alongside Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen, and Elena Anaya. The film follows Diana, an Amazon princess, as she leaves her home island of Themyscira after the American spy Steve Trevor informs her about World War I. Believing it to be orchestrated by Ares, the god of war, she sets out to stop the conflict.
Development of a live-action Wonder Woman film began in 1996, with Ivan Reitman initially set to produce and possibly direct. The project remained in development hell for many years, with writers and directors like Jon Cohen, Todd Alcott, and Joss Whedon attached at various points. Warner Bros. officially announced the film in 2010, and Patty Jenkins was hired as the director in 2015. The film drew inspiration from William Moulton Marston's 1940s Wonder Woman stories, George Pérez's 1980s comics, and the New 52 version of the character. Principal photography began on November 21, 2015, in the United Kingdom, France, and Italy, and concluded on May 9, 2016. Additional filming occurred in November 2016.
Wonder Woman premiered at the Pantages Theatre in Hollywood on May 26, 2017, and was released in the United States by Warner Bros. Pictures on June 2. The film received positive reviews, with praise for Jenkins' direction, performances, visuals, story, action sequences, and cultural significance, though some criticism was directed at the climax. It grossed over $824 million worldwide, making it the tenth highest-grossing film of 2017 and the highest-grossing film by a solo female director until it was surpassed by Barbie (2023). The American Film Institute included Wonder Woman in its top ten films of 2017, and the film won the Hugo Award for Best Dramatic Presentation in 2018. A sequel, Wonder Woman 1984, was released in December 2020, with Patty Jenkins returning as director and Gal Gadot, Chris Pine, Robin Wright, and Connie Nielsen reprising their roles. Plans for a third film were canceled after DC Films was restructured into DC Studios in 2022.
In present-day Paris, Diana Prince receives a photographic plate from Wayne Enterprises taken during World War I. It shows herself and four men, and prompts her to recall her past.
Diana, the young daughter of Queen Hippolyta, is raised on the hidden island of Themyscira, home to the Amazons, women warriors created by the Olympian gods to protect mankind. Hippolyta tells Diana the story of how Ares became jealous of humans and orchestrated their destruction. When the other gods attempted to stop him, Ares killed all but Zeus, who used the last of his power to wound Ares and force his retreat. Before dying, Zeus left the Amazons a weapon, the "god-killer", to prepare them for Ares' return. Seeking to protect Diana, Hippolyta hides her daughter's true origin from her, but reluctantly agrees to let her sister, Antiope, train Diana as a warrior.
In 1918, an adult Diana rescues U.S. pilot Steve Trevor when his plane crashes off the coast of Themyscira. The island is soon invaded by German soldiers, who had been pursuing Trevor. The Amazons suffer some casualties, but wipe out the German landing force, with Antiope sacrificing herself to save Diana.
Steve is interrogated with the Lasso of Hestia and reveals that a great war is consuming the outside world and that he is an Allied spy. He has stolen a notebook from the Germans' chief chemist, Dr. Isabel Maru, who is attempting to engineer a deadlier form of mustard gas under the orders of General Erich Ludendorff. Believing Ares to be responsible for the war, Diana equips herself with the "god-killer" sword, the lasso, and armor before leaving Themyscira with Steve.
In London, they deliver Maru's notebook to the Supreme War Council, where Sir Patrick Morgan is trying to negotiate an armistice with Germany. Diana translates Maru's notes, revealing that the Germans plan to release the deadly gas at the Western Front. Although forbidden by his commander to act, Steve, with secret funding from Morgan, recruits the Moroccan spy Sameer, the Scottish marksman Charlie, and the American Indian smuggler Chief Napi to help prevent the gas from being released. When the team reaches the front in Belgium, Diana goes alone through No Man's Land and destroys the enemy trench, liberating the nearby village of Veld with the aid of the Allied forces. The team briefly celebrates and takes a photograph in the village, where Diana and Steve fall in love.
The team learns that a gala will be held at the nearby German High Command. Steve and Diana separately infiltrate the party; he intends to locate the gas and destroy it and she hopes to kill Ludendorff, believing that he is Ares. Steve stops her to avoid jeopardizing his mission, but this allows Ludendorff to unleash the gas on Veld, killing its inhabitants.
Angry at Steve for intervening, Diana pursues Ludendorff to a base where the gas is being loaded onto a bomber aircraft bound for London. She fights and kills him, but is confused and disillusioned when his death does not stop the war. Sir Patrick then appears and reveals himself to be Ares. He tells Diana that although he has subtly given humans ideas and inspirations, it is ultimately their decision to resort to violence, as they are inherently corrupt. When Diana attempts to kill Ares with the "god-killer" sword, he destroys it before revealing to Diana that she is the "god-killer", since she is the daughter of Zeus.
While Diana and Ares battle, Steve's team destroys Maru's laboratory. Steve hijacks the bomber carrying the poison, flies it to a safe altitude, then detonates it, blowing up the plane and himself. Ares attempts to direct Diana's rage and grief at Steve's death by convincing her to kill Maru, but the memories of her experiences with Steve cause her to realize that humans have goodness within them. She spares Maru and redirects Ares's lightning into him, killing him. Later, the team celebrates the end of the war.
In the present day, Diana sends an email to Bruce Wayne thanking him for the photographic plate of her and Steve. She continues to fight on the world's behalf as Wonder Woman.
Additional Amazons are played by Ann Ogbomo (Philippus), Mayling Ng (Orana), Florence Kasumba (Acantha), Madeleine Vall Beijner (Egeria), Hayley Jane Warnes (Aella), Ann Wolfe (Artemis), Eleanor Matsuura (Epione), Doutzen Kroes (Venelia), and Samantha Jo (Euboea). James Cosmo appears as Douglas Haig and Steffan Rhodri portrays Colonel Darnell. Zack Snyder makes a brief cameo appearance as an unnamed soldier.
Development for a live-action Wonder Woman film began in 1996, with Ivan Reitman attached as producer and possible director. In 1999, the project became attached to screenwriter Jon Cohen and producer Joel Silver with the hope that Sandra Bullock would play Diana. By 2001, Todd Alcott was hired to write the screenplay, with Silver Pictures backing the project. At that time, Mariah Carey and Catherine Zeta-Jones were also rumored to be possible candidates for the role of Diana. Lucy Lawless, the star of ', was also under consideration for the part, although she was interested in playing a "flawed hero" version of the character. The screenplay went through various drafts written by Alcott, Cohen, Becky Johnston and Philip Levens. By August 2003, Levens had been replaced by Laeta Kalogridis.
In March 2005, Warner Bros. and Silver Pictures announced that Joss Whedon would write and direct the film. Early drafts of Whedon's screenplay included Steve Trevor as the narrator, a fierce battle between Diana and her mother over Trevor's welfare, and Trevor's need to frequently rescue Diana, who was rendered helpless by the modern world. During Whedon's tenure as screenwriter, Kate Beckinsale was being considered for the role of Diana, although she did not like the script. Whedon, who wanted Angelina Jolie to star in the film, was not able to complete his screenplay and left the project in 2007.
A day before Whedon's departure, Warner Bros. and Silver Pictures purchased a spec script for the film written by Matthew Jennison and Brent Strickland. Although the screenplayâÂÂwhich was set during World War IIâÂÂhad impressed Silver Pictures executives, Joel Silver said they purchased it to avoid future legal action if Warner Bros.' Wonder Woman film ended up bearing similarities to the script. Around the same time, Warner Bros. began development of a Justice League film with Michele and Kieran Mulroney writing the screenplay. The film, entitled ', would have featured Australian model Megan Gale as Diana in the character's cinematic debut. The film was later cancelled due to production delays and budgetary concerns. By April 2008, Silver had hired Jennison and Strickland to write a new script set in contemporary times that would not depict Diana's origin, but would explore the history of Themiscyra.
Between 2010 and 2013, executives at Warner Bros. and DC Entertainment reiterated their intention to produce a Wonder Woman film. In 2013, filmmaker Paul Feig said he had unsuccessfully pitched an action-comedy Wonder Woman film to Warner Bros. By October 2014, the studio was searching for a female director for the project. Michelle MacLaren was selected, but she left the project due to creative differences. In 2015, Patty Jenkins accepted an offer to direct a Wonder Woman film based on a screenplay by Allan Heinberg and a story by Heinberg, Zack Snyder and Jason Fuchs. Heinberg's script was rewritten and completed by Jenkins and Geoff Johns, who was given screenplay credit by the studio but was left out of the official credits by the WGA.It was decided that Jenkins' film would include Diana's origin story. The character would be the same version that appeared in ' (2016). Diana's origin story would occur during World War IâÂÂa departure from her origin story in the comics, which depicts her supporting the Allies during World War II. Jenkins drew inspiration from William Moulton Marston's Wonder Woman stories of the 1940s and George Perez's stories of the 1980s, which modernized the character. The film also incorporates elements from The New 52 comic reboot, which depicts Wonder Woman as the daughter of Zeus. Jenkins cited Richard Donner's Superman (1978) as a significant influence on the film's tone and storytelling. She wanted Diana to be vulnerable, warm and "filled with love". She also wanted her to be a flawed character as opposed to one who is "impeccably right".
In 2013, Gal Gadot was cast as Diana for Zack Snyder's upcoming film Batman v Superman: Dawn of Justice (2016), and signed a three-picture deal with the studio. Snyder said Gadot's ability to be both kind and fierce made her stand out during auditions. Although Jenkins was at first disappointed that she was unable to assist in casting Diana, she eventually decided that Gadot was the perfect choice. She felt that Gadot shares "every quality" with Diana.
Some criticized the casting, arguing that Gadot's Israeli heritage should have disqualified her from playing a character that is often seen as an American symbol of freedom. Others said she was too thin to portray Diana, who has been traditionally depicted as busty and muscular. Gadot dismissed the criticism, although she did build muscle for the role. She took lessons in swordsmanship, Kung Fu, kickboxing, capoeira, and Brazilian jiu-jitsu, as well as horseback riding. She trained six hours a day for six months, and gained 17 pounds. She said her training for the film was more intense than her training for the Israeli army.
Gadot has described the Diana of Jenkins' film as relatable, compassionate, and emotionally intelligent, with "the heart of a human". She explained that Diana is naive about the world and unaware of gender norms, inequality between women and men, and the rules of society. Gadot said Diana's ignorance causes her to view the world with genuine curiosity, and that Wonder Woman can be viewed as a coming-of-age story. Gadot explained that when she and Jenkins had conversations about the character, they realized that Diana could be a normal woman who can become confused and lose her confidence.
Chris Pine was cast as Steve Trevor, and signed a multi-picture deal. He initially had no interest in playing the role, feeling that it was "second fiddle." However, after Jenkins described the film as a romance, he changed his mind. As a boy, Pine had idolized the fighter pilot Goose from Top Gun, and so the role of TrevorâÂÂwho is both a pilot and a spyâÂÂfelt like a childhood dream come true. Pine described Trevor as a worldly, charming and cynical rogue who has seen "the awful brutish nature of modern civilization".
Nicole Kidman was in negotiations for the role of Hippolyta, but could not commit due to scheduling conflicts with Big Little Lies. Charlize Theron turned down the role. Connie Nielsen recalled that Snyder pushed Jenkins to meet with her, despite Jenkins thinking Nielsen was too tough for the part. When Jenkins and Nielsen finally met, they quickly bonded, which led to Nielsen's casting. According to Nielsen, she worked out six hours a day to prepare for the filmâÂÂtwo hours of weight training, two hours of sword training and two hours of horseback riding. She read The Amazons by Adrienne Mayor to familiarize herself with women warriors and said "I used what I learned in Mayor's book as a rallying cry for how I approached Hippolyta".
Elena Anaya was cast as Dr. Maru. Anaya said her character is the opposite of Diana, as Dr. Maru "loves rage and enjoys people's pain ... her purpose in life is to kill as many people as possible". Anaya said Dr. Maru's facial scars were the result of chemical tests she performed on herself. To prepare for the role, Anaya researched Fritz Haber, the scientist who created mustard gas.
Eugene Brave Rock was cast as Chief after an audition in which he forgot his lines. Brave Rock, who grew up in the Kainai Nation of southern Alberta, raised concerns with Jenkins over the presentation of his character in the film, particularly that he was not comfortable playing into stereotypes and that he was not keen on his character being known simply as "Chief". Jenkins responded by giving him a measure of creative control over his character, which he felt was "unprecedented". It was Brave Rock's idea to have Chief introduce himself to Diana in his native Blackfoot language.
Robin Wright was cast as Antiope. Wright's preparation for the film included horseback riding, weight training, martial arts, and eating 2,000âÂÂ3,000 calories a day. Wright said Antiope's duty is to ensure Diana is "the fiercest warrior of all time." Wright said Wonder Woman is about "love and justice."
Danny Huston described his character Erich Ludendorff as a stubborn and patriotic pragmatist who believes he is acting for the betterment of humanity. Huston said the "diabolical" and "tortured" Ludendorff believes that war is a "natural habitat" for humans. Huston said that Wonder Woman is an anti-war film.
Wonder Woman features a reimagined costume by Lindy Hemming, building upon Michael Wilkinson's original design from Batman v Superman. The updated suit retains key elements of Diana's classic look while modernizing it for practicality. Hemming's design emphasizes strength and functionality, inspired by ancient Greek and Roman armor. It includes leather skirts modeled after pteruges worn by Hoplite soldiers and gilded breastplates reflecting Amazonian warrior culture. Hemming aimed to create empowering armor without veering into sexualization. She drew inspiration from sportswear, focusing on durability and flexibility to support the film's action sequences. Collaborating with Whitaker Malem, she used body scanning technology to tailor the suit to Gadot's exact measurements. Whitaker recalls, "We built around 160 costumes in total," highlighting the meticulous attention to detail that conveyed Diana's evolution from a princess on Themyscira to a warrior hero.
Jenkins envisioned Amazon battle garments as distinct from traditional male armor, Jenkins explained "to me, they shouldn't be dressed in armor like men, it should be differentâÂÂauthentic, real, and appealing to women." Together, Jenkins and Hemming crafted a look that showcased the Amazons' physical strength, with outfits highlighting their toned shoulders and legs. The designs balanced practicality with comic book tropes, including wrist braces and, notably, high heels. Jenkins defends the latter, calling it "total wish-fulfillment," She adds, "The warriors have flats for heavy fighting, but I, as a woman, want Wonder Woman to be hot as hell, fight badass, and look great at the same timeâÂÂthe same way men want Superman to have huge pecs and an impractically big body. That makes them feel like the hero they want to be. And my hero, in my head, has really long legs."
Production designer Aline Bonetto and location manager Charles Somers considered 47 countries as possible locations for Themyscira before settling on the Cilentan Coast, a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in southern Italy. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave." The visual effects team would later add some digital cliffs to the location. For the battle sequence between Amazons and German soldiers on the beach of Themyscira, the crew built a rig that allowed the camera to move from a high vantage point down to ground level while capturing the action in slow motion.
Principal photography for Wonder Woman began on November 21, 2015. Filming took place in England in the Lower Halstow village of Kent, at Hatfield House in Hertfordshire, and at Australia House. Filming locations in southern Italy included Sassi di Matera, Castel del Monte and Camerota. Filming also occurred at the Louvre Museum in Paris, France. Principal photography finished on May 9, 2016, and reshoots took place that November, while Gadot was five months pregnant. A green cloth was placed over her pregnant belly so it could be edited out during post-production.
Jenkins shot Wonder Woman on 35mm film instead of digital video because she wanted to provide the audience with a "certain type of epic grander escapism". Jenkins and director of photography Matt Jensen said the film's look was inspired by the paintings of John Singer Sargent. The visual design of the film emphasized vibrant colors and dynamic compositions, marking a departure from the darker tones of previous DC Extended Universe films like Man of Steel and Batman v Superman: Dawn of Justice. Jenkins and cinematographer Matthew Jensen drew inspiration from a variety of sources, including a photograph of singer-songwriter James Blunt with colored smoke in the background.
The film's diverse color palette played a key role in its storytelling. Themyscira, Diana's utopian homeland, was depicted with azure skies, verdant fields, and clear waters, symbolizing a paradise untouched by war. In contrast, London was designed with grays, blues, and cyans to reflect its industrial, polluted environment, aligning with Diana's line, "It's hideous". However, even in London, Jensen avoided complete desaturation, achieving a balance by filming under overcast winter light to create a soft patina. Jenkins and Jensen deliberately avoided traditional period drama tropes, such as heavy filters, desaturation, and gauzy visuals. Instead, they opted for a sharp, clear look with a full-color spectrum, blending grit with vibrancy to maintain a modern feel. However, historical and artistic references shaped the film's visual identity. Jenkins and Jensen studied the vibrant portraits of Edwardian painter John Singer Sargent's vibrant portraits, particularly those from around 1918, to create a period aesthetic without relying on muted tones. Inspiration also came from Wonder Woman comic runs, including the late-1980s work of George Pérez and the early-2000s art of Cliff Chiang and Matthew Wilson. Jensen further referenced photographers like Inge Morath for vibrant color work and Annie Leibovitz for her natural skin tones against contrasting backgrounds.
Jenkins's focus on color and individuality extended to the overall production philosophy. Unlike other franchise films that prioritize brand consistency, DC Entertainment and Warner Bros. gave Jenkins and Jensen creative freedom, allowing them to craft a distinctive aesthetic that aligned with Diana's character and origin story. This approach contributed to Diana being celebrated as a visually unique entry in the DCEU.
Rupert Gregson-Williams composed the film's musical score, with assistance from Evan Jolly, Tom Howe, Andrew Kawczynski and Paul Mounsey. The Wonder Woman soundtrack was released on CD, digital and vinyl the same day as the film.
The success of the superhero television series Supergirl informed the marketing and promotion strategy used for Wonder Woman. According to Time Warner chief marketing officer Kristen O'Hara, they wanted to approach the Wonder Woman marketing campaign in a light manner, similar to how they did with Supergirl. O'Hara elaborated that the modest campaign route they took for Supergirl aided in establishing a large central fanbase among women well in advance of the series, which reportedly generated 5million female superhero fans in one week. They were then able to model over time and grow that audience leading up to the 15-months-later release of Wonder Woman. Though neither the film nor the series are aimed exclusively at women, the latter's campaign gave them their first opportunity to begin collecting data about female superhero fans. In May 2017, a promo for Wonder Woman was released during the season finale of Supergirl, featuring a remix of the song "These Boots Are Made for Walkin' and Supergirl (Melissa Benoist) wearing Diana's boots. The promo included an appearance by Lynda Carter, star of the 1970s Wonder Woman series, who plays the American president on Supergirl.
The costs for television advertisements for Wonder Woman were higher in comparison to that of previous DCEU film Suicide Squad (2016). Warner Bros. has spent over $3 million on advertisements for Wonder Woman, whereas they spent $2.6 million on advertisements for Suicide Squad. Ticket selling site Fandango reported that Wonder Woman rounded the final leg of its marketing campaign as the most anticipated blockbuster of summer 2017, according to a poll conducted by 10,000 voters, the biggest survey in company history. Separately, Fandango also found that 92% of people surveyed said that they were looking forward to seeing a film that features a standalone woman superhero and 87% wished Hollywood would make more women-led superhero films. In May 2017, NASCAR driver Danica Patrick drove her No. 10 car with a Wonder Woman paint scheme at the Go Bowling 400 in Kansas and at the Monster Energy Open in Charlotte.
Wonder Woman had its world premiere on May 25, 2017, at Pantages Theatre in Hollywood, Los Angeles. The film's London premiere, which was scheduled to take place on May 31 at the Odeon Leicester Square, was canceled due to the Manchester Arena bombing. The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX, on June 2, 2017, after originally being scheduled for June 23. Belgium, Singapore and South Korea received the film first, with May 31 openings. On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.
Wonder Woman grossed $412.8 million in the United States and Canada and $411.1 million in other territories for a worldwide total of $824 million, against an estimated production budget of $120âÂÂ150 million. Estimates for the number the film needed to surpass internationally in order to cover its production and promotional costs and break even ranged from $300 million to $460 million. Deadline Hollywood calculated the film's net profit as $252.9 million, accounting for production budgets, marketing, talent participations, and other costs; box office grosses and home media revenues placed it sixth on their list of 2017's "Most Valuable Blockbusters".
In May 2017, early tracking had Wonder Woman opening with $65âÂÂ75 million and possibly as high as $105 million. The film opened Friday, June 2, 2017, across 4,165 theaters and made $38.2 million on its opening day, including $3.7 million in IMAX. It was the biggest single-day gross for a woman-directed film, ahead of the $35.9 million opening Friday of Catherine Hardwicke's Twilight in 2008 and the biggest opening day for a woman-led comic book superhero film, ahead of Ghost in the Shell ($7 million). This included $11 million it made from Thursday previews, also the best start for a film directed by a woman, surpassing Fifty Shades of Greys (2015) $8.6 million which was directed by Sam Taylor-Johnson and the third-biggest of the year, behind Beauty and the Beast and Guardians of the Galaxy Vol. 2. Of that, $1.5 million came from IMAX screenings.
Earning a total of $103.3 million on its opening weekend, the film recorded a number of records: the biggest domestic opening of all time for a female director (surpassing previous record holder Fifty Shades of Grey), the biggest DC Comics release without Batman or Superman (ahead of Constantine), the sixth-biggest non-sequel comic book superhero debut ever, as well as the sixth-biggest June debut weekend. Its three-day opening alone made it the highest-grossing woman-led comic book superhero film ever (surpassing Ghost in the Shell). It was also the 16th superhero film to cross $100 million in its domestic box office launch. About 9% ($9 million) of the opening weekend came from IMAX screenings from 343 theaters. In its second week, the film grossed $58.5 million, again topping the box office, while also defeating The Mummy ($31.7 million). It marked a 43.3% drop for its second weekend at the box office, better than the average 50âÂÂ60% decline superhero films tend to see and was a better second weekend than ' ($51.3 million) and Suicide Squad ($43.5 million). In its third weekend it grossed $41.2 million, finishing second behind newcomer Cars 3 ($53.5 million). It was the second-best third weekend ever for Warner Bros. and was nearly double what Batman v Superman ($23.3 million), Suicide Squad ($20.9 million) and Man of Steel ($20.7 million) made in their third weekends. It earned $24.9 million and $15.7 million in its fourth and fifth weekends, respectively, dropping just 39% and 36% despite facing rough competition from opening films ' and Despicable Me 3. It eventually became the highest-grossing film directed by a woman, surpassing the previous records of Jennifer Yuh Nelson's Kung Fu Panda 2 and Phyllida Lloyd's Mamma Mia!, while also holding the record worldwide until Hi, Mom surpassed it in > followed by Barbie in 2023. By August 8, the film had garnered $400 million in ticket sales, becoming the second female-fueled film (after Disney's Beauty and the Beast), Warner Bros.' third-biggest movie (after Christopher Nolan's The Dark Knight and The Dark Knight Rises), holding the record of the highest-earning superhero origin film, replacing the previous record held by Spider-Man (2002). It also became the highest-earning film with a female director in terms of domestic earningsâÂÂsurpassing Frozen (2013).
Beyond the US and Canada, the film was released day-and-date with its North American debut in 55 markets (72% of its total release) and was projected to debut with anywhere between $92âÂÂ118 million. It ended up opening to $125 million, including $38 million in China, $8.5 million in Korea, $8.4 million in Mexico, $8.3 million in Brazil and $7.5 million in the UK. In its second week of release, the film brought in another $60 million, including holding the top spot on France, the UK, Australia and Brazil. In the Philippines, it broke 2017 box office record for highest-earning non-holiday opening dayâÂÂearning $4.7 million and becoming the 9th-most successful commercial film of all time as well overtaking the record set by Batman v Superman: Dawn of Justice. The film opened in its last market, Japan, on August 25 and debuted to $3.4 million, helping the international gross cross the $400 million mark. The biggest markets of Wonder Woman outside North America are China (US$90million) followed by Brazil (US$34million), UK (US$28million), Australia ($23million) and Mexico ($22million).
Wonder Woman was released on Digital HD on August 29, 2017, and on Blu-ray, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on September 19, 2017. The film debuted at the top spot of both the NPD VideoScan overall disc sales chart and the Blu-ray Disc sales chart. Wonder Womans home video sales earned a revenue of $98.7 million with 3.9 million copies sold, making it the fourth best-selling title of 2017.
Wonder Woman received a highly positive response from critics, with some calling it the DC Extended Universe's best film, praising Jenkins's direction and the acting, chemistry between Gadot and Pine, musical score and action sequences. On the review aggregator Rotten Tomatoes, the film holds an approval rating of based on reviews, with an average rating of . The site's consensus states: "Thrilling, earnest, and buoyed by Gal Gadot's charismatic performance, Wonder Woman succeeds in spectacular fashion." It is the eighth best reviewed live-action superhero film on Rotten Tomatoes and the highest rated live-action DCEU film. On Metacritic, the film has a weighted average score of 76 out of 100, based on 50 critics. Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave it an 85% overall positive score and a 73% "definite recommend".
Critics praised Wonder Woman as the best DC film since The Dark Knight. Scott Mendelson of Forbes called it "the best female-centric comic book movie," far surpassing films like Catwoman (2004) and Elektra (2005), though he noted it has flaws and doesn't match the 2009 animated film Wonder Woman. Chris Nashawaty applauded the film's "smart, slick, and satisfying" tone, while emphasizing the irony that a female hero and director set new standards in a male-dominated genre. Kelly Lawler of USA Today celebrated its feel-good tone, making it a refreshing contrast to the darker superhero films from both DC and Marvel.
Critics commented favorably on Gadot's performance of the titular character and Chris Pine's Steve Trevor. Andrew Barker of Variety found the film to be more lighthearted than recent DC Comics films:
Vox stated "Trevor is the superhero girlfriend comic book movies need". The San Francisco Chronicles Mick LaSalle lauded the performances of Gadot, Pine, Huston and Thewlis while commending the film's "different perspective" and humor. Richard Roeper of Chicago Sun-Times described Gadot's performance as inspirational, heroic, heartfelt and endearing and the most "real" portrayal of Diana.
A. O. Scott of The New York Times wrote that it "briskly shakes off blockbuster branding imperatives and allows itself to be something relatively rare in the modern superhero cosmos. It feels less like yet another installment in an endless sequence of apocalyptic merchandising opportunities than like ... what's the word I'm looking for? A movie. A pretty good one, too." Michael Phillips of Chicago Tribune compared the film to ' (2011), noting that as with "the first Captain America movie over in the Marvel Comics universe, DC's Wonder Woman offers the pleasures of period re-creation for a popular audience. Jenkins and her design team make 1918-era London; war-torn Belgium; the Ottoman Empire; and other locales look freshly realized, with a strong point of view. There are scenes here of dispossessed war refugees, witnessed by an astonished and heartbroken Diana, that carry unusual gravity for a comic book adaptation." Katie Erbland of IndieWire commended its thematic depth, explaining that "Wonder Woman is a war movie. Patty Jenkins' firstâÂÂand we hope not lastâÂÂentry into the DC Expanded Universe is primarily set during World War I, but while the feature doesn't balk at war-time violence, it's the internal battles of its compelling heroine that are most vital." Alonso Duralde of TheWrap similarly felt that, "Diana's scenes of action are thrilling precisely because they're meant to stop war, not to foment it; the idea of a demi-god using love to fight war might sound goofy in the abstract, but Jenkins makes the concept work." Ann Hornaday of The Washington Post praised Gadot's and Pine's performances as well the film's detailed plot and narrative while comparing some of the slow-motion action sequences to The Matrix. Stephanie Zacharek of Time magazine hailed the film as a "cut above nearly all the superhero movies that have been trotted out over the past few summers" while praising Gadot's performance as "charming" and "marvelous" and commending Jenkins's direction of the film as a step forward for women directors in directing big-budget blockbuster films in Hollywood.
Elise Jost of Moviepilot observed that "Gadot's take on Wonder Woman is one of those unique cases of an actor merging with their story, similar to Robert Downey Jr.'s Tony Stark. Gal Gadot is Wonder Woman and Wonder Woman is Gal Gadot." Jost praised Gadot's interpretation of Wonder Woman as the one in which Gadot "absolutely nails the character's unwaveringly positive outlook on life. She's a force of nature who believes in the greater good; her conviction that she's meant to save the world is stronger than her bullet-deflecting shield. She's genuine, she's fun, she's the warm source of energy at the heart of the movie." On HuffPost, cultural critic G. Roger Denson highlighted the "No Man's Land" sequence, calling it "one of the most powerfully mythopoetic scenes ever filmed," and that it raises "the esteem for powerful yet compassionate women as heroes and leaders to a level equal with that of men for having won over a huge and adoring popular audience around the world."
Steve Rose in The Guardian criticized the film for failing to explore the material's potential for "patriarchy-upending subversion". Peter Travers of Rolling Stone criticized the film's over-reliance on exposition: "Wonder Woman is hobbled by a slogging origin story and action that only comes in fits and starts. Just when Gadot and director Patty Jenkins...are ready to kick ass, we get backstory."
Rachel Becker of The Verge stated that despite the scientific liberties of using a "hydrogen-based" chemical weapon as a plot device, the film succeeds in evoking real and horrifying history. "First off, mustard gas is such a horrible, terrifying weapon, it doesn't need to be made more potent. But if you were a chemist bent on raining destruction on the Allied forces, you wouldn't do it by replacing the sulfur atom in mustard gas with a hydrogen atom. You'd know that sulfur is the linchpin holding together this poisonous molecule."
One criticism was directed towards aspects of the final act, with the reveal of Ares and the climactic fight. Patty Jenkins later admitted when promoting Wonder Woman 1984 (2020) that it was studio mandated, with her commenting "that was the only thing that the studio forced my hand on ⦠it was supposed to be like, that he never turns into Ares. The whole point of the movie is that you get there to the big monster, and he's just standing there looking at you saying, I didn't do anything. And then the studio kept saying, we'll let you do that, and then we'll see. And then I could feel it creeping up, and then at the last minute, they were like, you know what? We want Ares to show up. And I was like, we don't have time to do that now. Nope, you gotta do it!"
Wonder Woman, according to the BBC had "some thinking it's too feminist and others thinking it's not feminist enough". Kyle Killian found an inherent contradiction in the construction of Diana as "a warrior" who, she states, is highly sexualized. Killian suggests these elements "should not be the focus of a kickass heroineâÂÂher beauty, bone structure and sexinessâÂÂif she is to be a feminist icon". Theresa Harold concurred, comparing Diana to Katniss Everdeen (The Hunger Games), who "didn't have to wear a teenager's wet dream of a costume to fight in". Christina Cauterucci felt Diana's ability to be considered a "feminist antidote" was undermined by her "sex appeal". Other critics refer to the construction of Diana in the film as "an implausible post-feminist hero".
Jenkins disagrees with this; she was raised by a second-wave "feminist mother", who taught her to be "both super aware that there had been sexism but also: 'CongratulationsâÂÂthank you, now I get to do whatever I want, Mom! Jenkins notes it is this upbringing which led her to question a feminist critique of Diana's costume. When she was working on her own version of Diana's "Gladiator" re-design of the outfit Jenkins decided Diana "shouldn't be dressed in armor like men...It should be different...I, as a woman, want Wonder Woman to be hot as hell, fight badass and look great at the same timeâÂÂthe same way men want Superman to have huge pecs and an impractically big body." Jenkins notes she is "frustrated" by the critique of Diana's appearance, stating "when people get super critical about her outfit, who's the one getting crazy about what a woman wears? That's who she is; that's Wonder Woman." Gal Gadot agreed arguing the character "is a feminist" as "feminism is about equality and choice and freedom. And the writers, Patty and myself all figured that the best way to show that is to show Diana as having no awareness of social roles. She has no gender boundaries. To her, everyone is equal."
Critic Valerie Frankel supported Jenkins's vision. Frankel argues the film subverts the male gaze, stating the construction of Diana shifts every few decades as it reflects the state of feminism, including third-wave feminism. Zoe Williams offers a similar argument, stating that while Diana "is sort of naked a lot of the time," that is not, "objectification so much as a cultural reset: having thighs, actual thighs you can kick things with, not thighs that look like arms, is a feminist act". Williams then juxtaposes Diana with past female action heroes Sarah Connor, Ellen Ripley and Lara Croft, whom she suggests were all constructed for the male gaze, in which a "female warrior becomes a sex object".
Gloria Steinem liked the film, stating she felt it made the "Amazon origin story clear; [Wonder Woman] was stopping war, not perpetuating it." Steinem said she knew "some women were disappointed by all the makeup, but I may be desperateâÂÂI was just happy that the Amazons had wild hair!" Her only complaint lay in the choice to eliminate the World War II setting, as the Wonder Woman comic book developed in response to existing comics that were "so sadistic and racist that there was a congressional hearing on the subject". Steinem gave Hillary Clinton the first Wonder Woman Award in 2017 during the Women's Media Center's "Speaking Truth to Power Awards". Clinton noted she had seen the film and "loved the outfit". She said that as her granddaughter was "really keen" on Wonder Woman, Clinton "thought maybe I could borrow something from her for the night. It didn't quite work for me, but I will say that this award means a lot to me because as a little girl and then as a young woman and then as a slightly older woman, I always wondered when Wonder Woman would have her time and now that has happened." Clinton in a public 2017 message, stated "it was just as inspirational as I'd suspected a movie about a strong, powerful woman in a fight to save the world from international disaster would be."
Director James Cameron critiqued the representation of female power in the film. In a 2017 interview, Cameron qualifies Jenkins's vision of Diana as "an objectified icon" and called the film "a step backwards". In contrast, he states, his character Sarah Connor "was not a beauty icon. She was strong...troubled...a terrible mother and...earned the respect of the audience through pure grit." Jenkins responded that Cameron's "inability to understand what 'Wonder Woman' is, or stands for, to women all over the world is unsurprising as, though he is a great filmmaker, he is not a woman". She argued "there is no right and wrong kind of powerful woman" because "if women have to always be hard, tough and troubled to be strong and we aren't free to be multidimensional or celebrate an icon of women everywhere because she is attractive and loving, then we haven't come very far, have we?" Reaction to this debate was mixed. Julie Miller sided with Cameron, whom she states refers to himself as "a pretty hardcore feminist" and who told Vulture that "I have no problem writing a script in which the males become subservient to the females, which is what happens in Aliens ... It's up to Ripley to win the day." In contrast, Miller argues that Jenkins envisioned Diana as "a woman who exuded both femininity and strength, along with genuine confusion as to why men would treat women differently than they do other men". Susannah Breslin agreed with Cameron, describing Jenkins's Wonder Woman as "a Playmate with a lasso" and "female power with no balls". Others were more critical of Cameron's critique. A Newsweek article suggests that in contrast to his criticism of Jenkins, Cameron's own films include "lot of objectification" and quotes Hollywood celebrities who echoed this view. One came from Jesse McLaren who states "Cameron's just confused there's a female hero whose motivations aren't centered around motherhood." Noah Berlatsky found areas of agreement between Cameron and Jenkins, stating that while Cameron's objection is "an old point that's been made over and over for decades", Jenkins's film is not "solely focused on objectifying Gal Gadot for a male audience".
Cameron reiterated his criticism in an interview with The Hollywood Reporter. He compared Gadot's representation of the character to Raquel Welch films of the 1960s, and reinforced a comparison with Linda Hamilton's portrayal of Sarah Connor. He argued Connor was "if not ahead of its time, at least a breakthrough in its time" because though she "looked great", she "wasn't treated as a sex object". He stated that he while he "applaud[s] Patty directing the film and Hollywood, uh, 'letting' a woman direct a major action franchise, I didn't think there was anything groundbreaking...I thought it was a good film. Period." Former Wonder Woman actress Lynda Carter responded by asking Cameron to "Stop dissing WW." Like Jenkins, she suggests that while Cameron does "not understand the character", she does. She refers to Cameron's critiques as "thuggish jabs at a brilliant director" that are as "ill advised" as the "movie was spot on." Carter states she has the authority to make these observations because she has "embodied this character for more than 40 years". Jenkins responded to Cameron's comments in an interview with Variety, stating she "was not upset at all", as "everybody is entitled to their own opinion. But if you're going to debate something in a public way, I have to reply that I think it's incorrect." Tricia Ennis was critical of Cameron's statements, arguing that "while he may consider himself a feminist and an ally to women, [he] is not very good at it" as being an ally means using his position of privilege "without silencing the voices of those you're trying to help". She states that it "is not enough to simply call yourself a feminist. It's not even enough to create a strong female character ... You have to bring women to the table. You have to let them speak. You cannot speak for them. But speaking for women is exactly what Cameron is doing through his comments ... Cameron is using his position of power as a respected producer and director to silence women."
The release of the film sparked discussions about the racial identity of Jews, particularly whether Gal Gadot should be considered a woman of color due to her Jewish and Israeli heritage, as well as broader conversations surrounding race in the United States. Comicbook.com argued that, despite Gadot's white appearance, she should be categorized as Israeli rather than Caucasian. Similarly, The Forward questioned whether Jews should be considered "white," exploring the nuances of Jewish identity.
Mark Tseng-Putterman, an Asian American and Jewish writer, critiqued the oversimplification of categorizing Jews as people of color. He pointed out that Jews in the U.S. were historically classified as white, benefiting from associated privileges despite facing discrimination. Tseng-Putterman suggested that race, as it applies to Jews, is fluid and complex. The Atlantic, examined how Jewish identity has evolved in the U.S., noting that Ashkenazi Jews were gradually assimilated into broader racial structures over time. The cultural differences between American and Israeli Jews was also highlighted. Dan Lainer-Vos, a sociology professor at University of California in Los Angeles, who is Israeli, explained that American Jews fit into U.S. society easily and don't see themselves as different, while Israeli Jews, influenced by mandatory military service, are seen as tougher or more "macho." He added that Israeli women are often viewed as "exotic" and admired for their strength.
The film resonated deeply with Jewish and Israeli audiences. According to Times of Israel, Gadot's portrayal of the superhero carries special significance, symbolizing a strong, empowered woman. The film's storyline reflects values like tikkun olam (repairing the world), as Diana seeks peace and battles Ares, the god of war. For Israeli audiences, there was an added sense of pride in seeing a Jewish woman lead such a prominent international film. Gadot's role reflected her cultural heritage, making Wonder Woman a celebration of Israeli identity, while also highlighting the empowerment of women in Hollywood.
Jewish communities praised the film. Danielle Berrin of The Jewish Journal noted that Diana's origins in battling Nazis during World War II lent her character symbolic importance for Jewish audiences, aligning with a narrative of resistance and empowerment. Emily Shire, politics editor at Bustle, highlighted how Gadot's portrayal of Diana challenged longstanding stereotypes of Jewish women, who were often relegated to secondary or unattractive roles in film. Gadot's Diana, by contrast, presented a powerful and visually striking image of Jewish femininity, offering a new, empowering archetype for Jewish women in Hollywood.
However, the film also ignited debates about intersectionality, particularly surrounding Gadot's outspoken support for Israel. Yair Rosenberg, senior writer at Tablet Magazine, examined how Gadot's portrayal became a focal point for broader political debates regarding Israeli identity. Rosenberg noted how some viewers projected their political stances on Israel onto the film, turning it into a platform for discussing the complex intersections of identity, politics, and representation. Deborah Lauter, senior vice president of policy and programs at the Anti-Defamation League (ADL), commented on the politicization of the film, in light of Israel's Six-Day War anniversary. Lauter pointed out that the film's connection to Israel emerged at a particularly sensitive time, amplifying tensions between cultural representation and political ideologies. The film's release also sparked debates about reconciling feminist values with Gadot's support for Israel. Palestinian-American activist Linda Sarsour argued that feminists could not support both Israel and Palestinian rights, causing a rift in feminist circles. Amal Matan, a writer for NerdyPOC, explored the tension within the Wonder Woman fan community, where some fans struggled to support Gadot due to her stance on Israel, highlighting the complexities of intersectionality in cultural representation and political beliefs. Annika Hernroth-Rothstein, writing for Israel Hayom, highlighted how Wonder Woman is a feminist masterpiece, portraying a strong, independent woman who challenges traditional female stereotypes. Rothstein explored how Israeli women, empowered by mandatory military service, are treated equally and encouraged to grow, contrasting this with societies where women face oppression. She argued that the film is powerful not because Gadot is Israeli, but because it symbolizes Israel's strength and potential.
Gadot initially signed a contract for three DC Extended Universe (DCEU) films, including Wonder Woman, later extending it to include appearances in further DCEU projects. Patty Jenkins initially signed on for only one film, but began working on a sequel with Geoff Johns, who revealed they had a "cool idea for the second one." At the 2017 San Diego Comic-Con, Warner Bros. officially announced a sequel, initially titled Wonder Woman 2, set for release on December 13, 2019, later moved to November 1, 2019. Jenkins officially returned as director in September 2017, with Gal Gadot reprising her role, and David Callaham joined to co-write the script with Jenkins and Johns.
In March 2018, Kristen Wiig was confirmed to play Cheetah, the villain of the film. That same month, it was announced that Pedro Pascal would have a key role in the film. By May 2018, long-time DCEU producer Zack Snyder confirmed on social media platform Vero that he, along with his wife Deborah Snyder, would serve as producers on the Wonder Woman sequel. In June 2018, the title of the film was announced to be Wonder Woman 1984. The film's release was delayed several times, including owing to the COVID-19 pandemic, and was not released until December 25, 2020.
Following Wonder Woman 1984, plans for Wonder Woman 3 were canceled during a restructuring of the DC Universe (DCU) under new co-CEOs James Gunn and Peter Safran. Although Patty Jenkins and Gal Gadot were expected to return, the project was scrapped as the DCU shifted direction. Jenkins later confirmed her departure in December 2022, citing creative differences, with Gunn and Safran's reboot ending Gadot's iteration of the character.
On May 31, Wonder Woman was banned in Lebanon after the Campaign to Boycott Supporters of Israel asked the Lebanese government's Ministry of Economy and Trade to block the film because its star, Gal Gadot, is a former Israel Defense Forces soldier. The Lebanese government did not ban Gadot's Fast & Furious films which did screen in Lebanon. On June 6, Variety reported that Algiers, the capital of Algeria, pulled the film from the "Nuits du Cinéma" film festival. On June 7, Variety also reported that a Tunisian court suspended the theatrical release of Wonder Woman after a lawsuit brought by the Al-Chaab party and the Tunisian Association of Young Lawyers to have the film blocked due to Gadot's military service and public comments she made in support of the Israeli military during the 2014 IsraelâÂÂGaza conflict between her native Israel and the Palestinian enclave of the Gaza Strip. Jordan was reportedly also considering a ban of the film and suspended screenings pending a decision, but on June 11, it was reported that the government decided not to do so, as there was no legal precedent for it. On June 30, Qatar issued a ban on the film.
Women-only screenings were held at the Alamo Drafthouse Cinema in Austin, Texas. Opponents of the gender-restricted screening stated on Facebook that such screenings were discriminatory against men. An Albany Law School professor initiated a complaint with Austin's Equal Employment and Fair Housing Office claiming discrimination against male prospective customers and employees of the theater. The chain responded with an online statement saying the event "may have created confusionâÂÂwe want everybody to see this film" and announced a similar event at their Brooklyn location. Tickets sold out in less than an hour, prompting the chain to schedule additional screenings. On July 18, Alamo Drafthouse proposed settlement offers of a Wonder Woman DVD to the complaints, stating "Respondent did not realize that advertising a 'women's only' screening was a violation of discrimination laws."