Gadot is at her best in close-ups: reaction shots, prepping for battle, assessing the situation, discovering her own powers. (She would have made a terrific actress in the silent era.) Jenkins is at her best working with bodies in flight. There is a balletic quality to the action, specifically the Themyscria battle against the Germans early in the movie.
Compare this (and Diana's openness both with her Themyscrian family and with Steve Trevor) with Diana in Batman V Superman. There she is nothing but an enigma, slinking around and stealing things in a red dress and messing up Bruce Wayne's plans. Same can be said for Selina Kyle in The Dark Knight Rises -- just add a motorcycle.
In Wonder Woman the POV is switched, which is quite the remarkable feat considering that Chris Pine's Steve is, in a way, meant to represent “us” in the equation. (And three cheers for Jenkins and writer Allan Heinberg for altogether skipping any trepidation on Trevor's part in following a g-g-giiiirl. Sure, he's surprised at first by Diana's powers, but is quick to recognize that following her lead is the best way to get stuff done.) As such, when Diana charges into her fight scenes, she isn't dolled up for sex appeal. The focus is on her action, not on her body parts. These are subtle differences in style, and Jenkins using that approach for this character is part of what makes this movie resonate.