Wonder Woman 1984 more than course corrects with not one compelling and nuanced villain but two, Pedro Pascal's Max Lord and Kristen Wiig's Barbara Minerva/Cheetah.
Pascal and Wiig are both charisma bombs that, when exploded, have this mesmerising effect in which their screen presence actually overshadows the titular hero played by Gal Gadot.
It's an odd problem for Wonder Woman 1984 to have but ultimately only adds to rather than diminishes what is a full-hearted, joyful and grand movie experience.
Directed by Patty Jenkins, the follow-up finds Diana Prince smack bang in the middle of the 1980s, working for the Smithsonian in Washington, D.C. She's more worldly than the ingenue that burst out of Thermyscira in 1917.
Her WWI friends have long died and Diana is still carrying a torch for lost love Steve (Chris Pine).
Everyone around her is caught up in the materialism of the era, with voracious appetites for more. A pan around a suburban shopping centres reveals moderation is out of vogue as people gorge on gargantuan servings of nachos.
Then you hear the words, "You deserve to have it all, you don't even have to work hard for it, all you have to do is want it." Beaming through the TV, Pascal's Max Lord is selling shares in his oil company, but what he's really selling is a life philosophy of entitlement and shortcuts.
With shades of Gordon Gekko and Donald Trump – though ultimately more complex and redeemable than either – Lord is less a straight-out villain as he is representative of the worst excesses of capitalism and consumerism.
Lord's pursuit of an object – Wonder Woman 1984's McGuffin – crosses his path with Diana and her new colleague at the Smithsonian, the overlooked and lonely archaeologist and gemmologist Barbara Minerva (Wiig).
Pascal and Wiig are giving very different performances – he's leaning more into the more cartoonish aspects of a supervillain while she's foregrounding awkward relatability – but they both bring pathos to roles that could've easily been one-dimensional.
Both those characters are contextualised within their world, and they have discernible, understandable motivations that aren't just megalomania.
When Pine was revealed as returning for the sequel, speculation was rife how the filmmakers would do it, considering his character had been killed off in the first movie or if he had survived, he would be 94.
Without spoiling anything, it's a bit of a cheat solution, but one which seamlessly folds into story and is almost a meta-commentary on the film's themes around shortcuts. Most significantly, Steve's reappearance is the emotional anchor for Diana in this film.
And with the megawatt charms of Pascal and Wiig, the chemistry between Gadot and Pine is necessary to remind the audience who the focus of this film is meant to be.
Having already established her physical strength and integrity in the first film, Steve serves to propel Diana's character progression into the next phase.
Wonder Woman 1984 is not without flaws. It still overuses CGI, which is particularly glaring during the opening scene of a flashback to Thermyscira when Amazons fly through the air like animated stick figures rather than even supercharged warriors.
The CGI problem is not a phenomenon distinct to Wonder Woman and there is a certain level of acceptance from audiences well versed in the gravity-defying feats. At the very least, once you're settled into the movie, it bumps a lot less.
Perhaps it's just a matter of reacquainting oneself with blockbuster movies in a year when most of them have been pushed from the release calendar.
You almost forget the wondrous experience of being immersed in a movie of that scale which delivers not just propulsive action but also heart and a resonant message.
