"[Sees the Bat signal shining in the sky] Oh, awesome. That’s the Bat signal, that’s your… Ooh, ssh. Sorry. That’s your signal, that means we have to go now."

"[Scarfing a whole pizza] It's like this layer of dimensional reality that seems to manipulate space-time. I call it the Speed Force. It causes me to burn a tremendous amount of calories, so I am just a black hole of snacks. I am a snack hole."

"[To a little girl] Dostoevsky."

"[seeing Superman preparing his attack on the Justice League] Kal-El, no!"

"Children. I work with children."

"You were pushing me to lead the team– but leaders get people killed. I fought, always, when I was needed. But to lead, to step into the light, and to say to people "This is worth your life." When it's your fault– they're all Steve Trevor."

"We're asking people we don’t know to risk their lives."

"You should move on from mourning for your parents."

"[Writing a story for the Daily Planet] Darkness, the truest darkness, is not the absence of light. It is the conviction that the light will never return. But the light always returns to show us things familiar, Home, family, and things entirely new, or long overlooked. It shows us new possibilities and challenges us to pursue them. this time, the light shone on the heroes coming out of the shadows to tell us we won't be alone again. Our darkness was deep and soon to swallow all hope. But these heroes were here the whole time to remind us that hope is real. That you can see it. All you have to do is look, up in the sky."

"[To Flash] Slowpoke."

"[To Steppenwolf] Well– I believe in truth– but I'm also a big fan of justice."

"[While choking Batman] Tell me– do you bleed?"

"[To kids filming him] My f– a man I knew used to say that hope is like your car keys. Easy to lose, but if you dig around, it's usually close by."

"[as Steppenwolf leaps onto the Nightcrawler] Jesus... he is tall."

"[Blasting Parademons with the Knightcrawler's weapons, in the Snyder Cut only] My turn."

"[Blasting Parademons with the Knightcrawler's weapons] Sorry, guys. I didn't bring a sword."

"He was more human than I am. He lived in this world. Fell in love, got a job, despite all that power. The world needs Superman. And the team needs Clark."

"Superman was a beacon to the world. Why aren't you? You're an inspiration, Diana. You don't just save people. You make them see their better selves."

"Arthur Curry. Also known as Protector of the Oceans. The Aquaman. I hear you can talk to fish."

"I think it's something more. Something darker."

"Amber Heard as Mera"

"Ciarán Hinds as Steppenwolf"

"I used to want to save the world. This beautiful place. But I knew so little then. It is a land of magic and wonder. Worth cherishing in every way. But the closer you get, the more you see the great darkness shimmering within. And mankind? Mankind is another story altogether. What one does when faced with the truth, is more difficult than you think. I learned this the hard way. A long long time ago. And now, I will never be the same."

"You're wrong about them. They're everything you say... but so much more."

"I will fight – for those who cannot fight for themselves."

"What one does when faced with the truth is more difficult than you think."

"The future of justice begins with her."

"Power. Grace. Wisdom. Wonder."

"Wonder Woman was originally designed to draw strength from empathy and love. To her great credit, Jenkins doesn’t shy away from these stereotypically feminine attributes, but makes them the basis of Diana’s power. She doesn’t run on primeval adrenaline, but deep compassion. Too often, we see superheroes engage in combat because, well, that’s what they’re supposed to do. Here, there’s a true and meaningful connection between cause and effect. Diana is shocked, for example, when Steve encourages their hastily-assembled team (including standout Saïd Taghmaoui as Sameer) to rush past a devastated village on the way to the front lines. Steve is saddened by the sight of starving families being preyed on by mercenaries. But the priority is to reach Ludendorff as quickly as possible, and Steve won’t deviate from the plan secretly approved by his superior, Sir Patrick Morgan … Diana can’t follow him. Benevolence is the force that drives her. She sees suffering, and she has to alleviate it. Don’t get the wrong idea, though: while Amazons don’t like violence, they’re more than willing to use it – and, it seems, in flashy, fiery style. … Jenkins and screenwriter Allan Heinberg have created an unassailable icon, one who fits into the pantheon with ease, and stands out like no other. By viewing the familiar tropes of an origin story through a new – and, one can only hope, game-changing – lens, they have delivered us a lasting legend."

"Wonder Woman offers something missing from the previous DCEU movies – joy. But it’s an absolutely magnetic, star-making turn from Gal Gadot that really makes the film go. … Wonder Woman probably does the best job with a superhero origin story than any film of its kind since the first Iron Man, back in 2008. And beyond everything else, from the direction to the action scenes to the cinematography, that’s a testament to Gal Gadot, who’s as perfectly cast as any superhero in recent years. She’s got a presence that’s something to behold, and not just her looks. Gadot commands the screen in every scene she’s in, and her chemistry with Pine is off the charts."

"One of the great things that came with Patty was this great use of Diana’s naiveté from living such a sheltered life on Themyscira. So even though she ends up […] becoming a fighter, she’s still pretty sheltered because she’s never been off the island. So she’s got no life experience really. When she meets a man for the first time that gives you great potential humor, and when she goes off the island there’s great potential humor just in her sense of what life is like and her finding out what life is like in man’s world. So a lot of the humor of the movie, or the circumstances, was pulled out by Patty."

"The thing that I think that Christopher Reeve’s Superman had that our Wonder Woman has is the genuine compassion for man. Wanting to see the best in him, and wanting to help mankind, men and women, human beings. But what the character also had in every incarnation was her desire from the time that she was a young girl to be a hero. Her mother was a hero, her aunt was a hero, and she felt it was the destiny of herself and the other Amazons to be heroic, and so she wanted to fulfill that destiny from the very beginning, from the time that she was a little girl. That was always there, how she was gonna go about doing it wasn’t always there."

"As opposed to most comic book superhero movies, “Wonder Woman” isn’t a nonstop clobberfest. Set in 1918 at the height of World War I (a switch from the World War II setting of the original comic book, which was created by William Moulton Marston), the film has Wonder Woman progressing from her Amazonian all-female island of Themyscira to London and then the fighting trenches in her heroic effort to annihilate Ares, the god of war, who she believes is responsible for all wars, and whose demise would bring eternal peace to the planet. How naive, you may think. Until, of course, Ares actually does show up … But here’s a spoiler alert: Ares or no Ares, there’s no way going forward that the “Wonder Woman” franchise will dispense with war."

"The setting also helps to make the film’s resonant feminist subtext feel more organic and less forced. At a time when women were still without the right to vote and were subjugated to a position of being seen and not heard, the fearsome Diana becomes a spokeswoman in word and deed of resistance and empowerment. She refuses to be treated like a second-class citizen by politicians and generals. No one puts Wonder Woman in a corner. On the battlefield in Belgium, she displays a martial courage that her brothers in arms (even including Pine) don’t possess. She’s completely fearless…not to mention a long way from Lynda Carter. It’s only in the movie’s unnecessary final half-hour or so that Wonder Woman finally meets her match: the special-effects imperatives of contemporary blockbuster filmmaking against which even the Germans onscreen seem insignificant."

"Throughout, Lindy Hemming’s superb costume designs are in sync with production designer Aline Bonetto’s vivid locales, contrasting the poetic, not-quite-real timelessness of Themyscira, the all-female isle where Diana was raised, with the prosaic reality of early-20th-century Europe, from cosmopolitan London to the provinces to the devastating chaos of the trenches. Matthew Jensen’s cinematography heightens every shift, while the score by Rupert Gregson-Williams alternates between obvious emotional chords and enriching counterpoint."

"As the world’s most well-adjusted superhero, Wonder Woman breaks the genre mold. She’s openhearted, not angsty — an anomaly within the DC Universe, “extended” or otherwise. So, too, is her long-awaited foray into the live-action big-screen spotlight: that openheartedness makes the movie something of an outlier."

"Reviewer David Edelstein focuses excessively on Gadot’s appearance in his review, even opening with this sentence: “The only grace note in the generally clunky Wonder Woman is its star, the five-foot-ten-inch Israeli actress and model Gal Gadot, who is somehow the perfect blend of superbabe-in-the-woods innocence and mouthiness.” He continues to objectify and exoticize Gadot as the review goes on, noting, “She’s a treat here with her raspy accented voice and driving delivery. (Israeli women are a breed unto themselves, which I say with both admiration and trepidation.)” He also lets us know that, even when she’s not in her superhero costume, Gadot is still – phew! – attractive. “She looks fabulous in her suffragette outfit with little specs,” the review reads, “but it’s not until she strips down to her superheroine bodice and shorts, pulls out her sword, and leaps into the fray, that she comes into her own.” Worst of all, though, is his disclaimer about a lack of “kinkiness” in the film: “While this Wonder Woman is still into ropes (Diana’s lasso both catches bad guys and squeezes the truth out of them), fans might be disappointed that there’s no trace of the comic’s well-documented S&M kinkiness. With a female director, Patty Jenkins, at the helm, Diana isn’t even photographed to elicit slobbers.”"

"There are several extraordinary sequences in Wonder Woman, but at one point halfway through the film there is a scene (you’ve seen part of it in the trailers) where Diana rises into battle and we see her stride onto the field for the first time in her full costume; I want to see the movie again just for this shot, which gave me major goosebumps. This is a moment 75 years in the making where the hopes and dreams and fantasies of millions of little girls and adult women finally crystallize into one transcendent image that is proud, defiant, more than welcome, and a long time coming. Women are, in so many ways that are never acknowledged, the true superheroes of the world, and it’s both a profound relief and joy to report that the first fictional one has come to the big screen with pride, respect… and love."

"Directed by Patty Jenkins (Monster), Wonder Woman takes a page from, dare we say it, the Marvel Cinematic Universe playbook by telling a mostly straightforward origin story. While it is somewhat predictable in its basic structure, the movie also provides the kind of satisfying narrative and character arc missing from its predecessors. And for possibly the first time since the DCEU officially started with 2013’s Man of Steel, the movie features a lead character who unambiguously embraces the call instead of refusing it with aspects of that character’s own personality and history creating more organic conflicts later on. There is also genuine warmth in the relationships that the movie sets up, creating the kind of empathy that was sorely missing from the more nihilistic BvS and Suicide Squad. Both of those movies had their strengths, as did Man of Steel, but Wonder Woman feels like the first unabashed superhero movie in the DCEU to date."