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Questions have been raised asking, "How is this a Western?" Historical truth: many of the stereotypes we associate with the culture of the trans-Mississippi "Wild West" originated in the Deep South, pre-War, including the "shootout" (the southern duel), the outlaw turned sheriff, the tough Sheriff who controlled his territory, the juke joint (saloon). These and other cultural elements were exported to the Far West with surviving Confederate soldiers, who, when returning post-War to a decimated South, headed West. The original venue for the highwayman and American outlaw type originated along the Natchez Trace; that, too, was an export. As far as "Is this a true story?" Yes, in its essential elements, although every storyteller-- in this case, Mr. Mills-- has license to "translate" it to a new medium.

A movie without a purpose. While after we've accepted the implausibility of a superhero, this movie is full of further, outre' implausibilities, along with huge plot holes, poor editing, and no real character development at all. The most interesting part of the film is the first 10 minutes-- it would have made a better film to show WW growth from a child to an adult. Instead, we get unlikely romances, a rather silly villain, and a "magic crystal" to justify all the, erm, magic goings on and hokey special effects. WW rides lightening bolts? Really? The crystal grants wishes, but then it also seems to give its holder hypnotic powers over everyone around-- how is that a wish? And in the climactic scene, the villain is standing in a beam of light-- for what? What light? did the set designer just say "Hey, let's put him in a beam of light! Looks cool!" That's the mindset of the film-- whatever they thought looked cool at that moment, with no story to connect it all. Marvel and DC are both in danger of selling their cultural value to the dumbest Hollywood money men. In doing so, they'll continue to make (as Scorsese has it) "carnival rides", not real movies.

Ken Russell, anyone?

(i.e., reminds me to Russell's later films, in which he allowed style to overwhelm story and character and plot)