Wonder Woman (12A)

THE fictional conceit in this rare super heroine blockbuster is that Zeus put the Amazonians in the world to protect mankind from itself, with the emphasis rightly, for a change, on man. The cinema reality is that women may have saved the comic book genre from disappearing up its male behind.

The newly-introduced Wonder Woman was the saving grace of last year's misbegotten Batman v Superman: Dawn Of Justice. While the headlining beefcakes and fatheads were bashing it out with each other, and destroying cities in the process, Gal Gadot's reluctant new girl was quietly stealing the show.

As a result, there has been much hope and optimism surrounding the character's solo vehicle. And to a large degree it's been justified. In the Amazonian Diana this movie has a tremendously appealing lead character – beautiful, idealistic, funny, powerful and, more than anything, genuinely humane, which is particularly refreshing when the norm is for male-led teams of superheroes to destroy the world in defence of their egos.

Additionally, there are high-calibre actresses amongst the supporting cast and, for the first time in superhero film history, a female director at the helm. Can it be coincidence that Patty Jenkins (whose previous feature is the award-laden, real-life drama Monster) allows character to dominate action, and makes death genuinely felt? I think not.

It opens on the famed and dreamy island of Themyscira, where the Amazonians led by Queen Hippolyta (Connie Nielsen) are hidden from the world, training hard under the guidance of the formidable general Antiope (Robin Wright) for the day they may again be needed.

That time comes when American airman Steve Trevor (Chris Pine, Captain Kirk in the Star Trek films) crashes into their waters, hotly pursued by Nazi seamen. Barely has he been saved from drowning by Diana, then he gets to witness a peculiar and spectacular battle on the beach, women on horseback with bows and spears against men with guns, the First World War meeting myth.

Diana believes that Ares, the god of war, is behind this "war to end all wars" and decides to join the airman on his return to Europe. The film is driven by her education – in learning first that men are more than able to instigate their own evil deeds, and then that they might be worth saving regardless.

The "origins" element of the film is excellent value: the spunky Diana's schooling in combat; Steve’s male fantasy introduction to the island, and Diana's debunking of the chauvinist world of early 20th-century London; the subtle flirtation between an atypically chivalrous man and a woman who has never seen a man, but has been taught that they’re pretty redundant in the sack.

The high continues as the pair arrives at the Front, along with Steve’s ragtag band of brothers (including Ewen Bremner’s sniper with shell shock). First Jenkins and her star lend the scenes of suffering a sombreness unusual for a “comic book” film; and then, as the magic lasso-wielding goddess launches into no-man’s land – the gender significance of the phrase made crystal clear – the action is brilliantly executed and rousing.

Admittedly, in the final stretch familiar failings kick in: the plotting becomes slack, the villains too hammy and the special effects run the risk of getting out of hand; that they don’t, quite, is to Jenkins’s enormous credit.

Gadot is much more than a stunner in cool battle dress – she’s relatable, comic, a solid anchor for everyone around her. Contrary to popular belief, superhero films are not the sole domain of male audiences; for those women who haven't dabbled as yet, here's a reason to start.

Also released

My Life as a Courgette (PG)

Adapted from a French autobiographical novel, this Oscar-nominated animation is a daring and deeply touching family film, feel-good despite its tragic material. When nine-year-old Icare, nicknamed Courgette, accidentally kills his alcoholic single mum, he’s sent to an orphanage where he meets the fellow victims of a variety of social problems – drug addiction, mental illness, crime, child abuse and deportation. Just for once Courgette and his new friends are in safe hands, and begin to find some delight in the world. The animation is in a stop motion style influenced by Tim Burton and Nick Park.

After the Storm (PG)

The masterful Japanese director Hirokazu Kore-eda delivers yet another sharply observed, bitter-sweet family drama, this one centred on a middle-aged loser and divorcee, who needs to get his act together if he wants to remain in his young son’s life. The extended family is beautifully played, but the film rests on the tightrope performance of its lead actor Hiroshi Abe as the almost loveable rogue.