Certain names carry a style of cinema unto themselves. Quentin Tarantino. Martin Scorsese. Steven Spielberg. Certainly, the generation of movie audiences growing up in this millennium has added Christopher Nolan to this list. His time-bending/breaking style of blockbuster stories with deeper, artistic themes have built higher expectations with each subsequent addition to his filmography. Continue reading “Review: ‘Tenet’ is the Savior of Cinemas That Instills Wonder and Disappointment”
Upon first announcement, Widows seemed like a peculiar albeit talented coupling of filmmakers. Director Steve McQueen (12 Years a Slave, Shame) has been known for highlighting the cruelty of the real world through the suffering of the characters in his films, with the aim to make the audience uncomfortable yet understanding and sympathetic. Writer Gillian Flynn (Gone Girl, Sharp Objects), though a talented author in her own right, undeniably garners much more mainstream attention than McQueen. However, rather than being an artistic “dumbing down” of McQueen’s artistic prowess, the best elements of both filmmakers are out in full force. Widows is a somber, melancholy heist film that is so much more than what it seems on the surface level; it is one of those rare blockbusters that prove that artistic vision doesn’t need to be sacrificed in order to be successful. The film is incredibly entertaining, thought-provoking, and easily one of the best films of the year.
Widows is riveting from the very beginning. For the most part, we are launched straight into the action of the heist-gone-wrong which leaves the wives of the criminals involved widowed. The action is intense, with point-of-view shots of the getaway vehicle filling the screen; excellent, bass booming sound design; and in-camera car stunt work. Excellent visual storytelling is exemplified here, as we are introduced to each of the criminals, particularly Harry Rawlings (Liam Neeson), in inter-cuts to his personal life with his wife Veronica (Viola Davis). The editing here portrays the double life lived by Neeson’s character in a particularly sharp and efficient way. Additionally, this opening scene gives the audience the basic premise within just a couple of minutes, where the widows of four criminals are set to take on the ultimate heist and finish what their husbands started. However, the film is so much more than just a typical action heist film, unlike Ocean’s 8 from earlier this year.
One of the things that makes this film so great is that on top of being a heist story, it attempts and succeeds at telling a poignant story that comments on grief, violence, political corruptness, being a minority in America, and so much more. As Veronica states regarding the heist, “they had the balls to pull it off,” which is true of the film as a whole. The real accomplishment of Widows is McQueen and Flynn’s ability to so seamlessly integrate the film’s lofty sociopolitical themes and ideologies into the narrative, where nothing ever seems heavy-handed or forced. It’s still an incredibly entertaining heist film regardless, but what makes it truly shine is its ability to use this framework to tell a story that matters.
Widows also features one of the best and most effective ensemble casts this year, with some incredible standouts. Daniel Kaluuya, best known for his Oscar-nominated role in Get Out, is brilliant here as Jatemme Manning, an ice-cold killer whose unpredictability combined with his undeniable swagger make him an electrifying presence to behold on screen. But the real star of the show here is Viola Davis, who really needs no introduction at this point. She steals almost every scene she’s in, and her performance expertly rides the line between immense vulnerability and undeniable grit. Her performance and character embody the intense grief one experiences in a time of loss and the difficulty and desperation that comes with experiencing that loss. It’s a thrilling, nuanced performance that’s sure to make rounds at many awards shows come next year. The rest of the main cast, including Elizabeth Debicki, Michelle Rodriguez, Colin Farrell, and relative newcomer Cynthia Erivo, all give fantastic performances as well.
Steve McQueen embraces his artistic ambitions with a bravado unlike many directors in Hollywood right now, and for good reason. He has yet to make a movie that is less than stellar, and Widows is certainly no exception. It’s everything you could possibly want out of a heist film, with all the energy of an exhilarating, perfect third act along with emotional and dramatic heft. The combination of Steve McQueen, Gillian Flynn, and this amazing cast is exactly the sort of thing Hollywood needs right now.
Score: 5/5