Widows (2018)
2018
R
128 Minutes
Set in contemporary Chicago, amidst a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands' criminal activities take fate into their own hands and con...
User Review
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Widows mourns for current societal politics. McQueen has had an outstanding filmography thus far. This time he partners up with Flynn, writer of 'Gone Girl', to adapt an 80s TV show. What should've been a disposable thriller is magnificently transformed into a prestigious showcasing of acting, directing and meticulous storytelling. After a heist goes bad, a group of widows attempt to finish a planned heist to pay off the politician that their husbands stole from. Immediately, the opening scene hooks. Merging scenes of mature romantic delicacy with the firepower of the failed heist. Each gun shot piercingly deafening, each kiss warmly loving. McQueen transfixes you, serving you the approximate contents of the film within the first five minutes. A drama with narrative thrills, with the screenplay being its crowning glory. The combination of Flynn and McQueen was smart. Flynn's fleshed out character development chooses to focus on the impact of being a widow. How each wife come to terms with the absence of their most beloved. Embodying sorrow, melancholy and grief. From the struggles of single parenthood to lack of financial income, these women must overcome desperation in order to save both themselves and their family. McQueen's aspect to the script is the surprising amount of political charge. Highlighting gun crime and ease of access to weaponry in America. Illustrating archaic and racist perspectives from wealthy caucasians, particularly Duvall's character. Yet, it never once detracts from the story. These widows are constantly the focus. It's the society around them that consistently felt natural. They simply live in this political climate. McQueen never once shoves it in your face. The horror of a white police officer shooting a black individual after being pulled over feels like it is normality. Terrifying, yet important to address.
The heist itself is meticulously planned, involving an array of characters that may seem underused at first, only to have a fundamental use during the actual robbery. There are unexpected twists, turns that some (including myself) will not predict, to maintain thrills. The first half may seem disjointed, especially as each character from the ensemble cast is introduced. However the payoff is worth the additional time spent on fleshing out these characters. McQueen's directing style, yet again, is captivating. Several long takes to retain the constant flow of dialogue. The scene where Mulligan enters the car from an empowered speech and is driven down the road to his house really highlights McQueen's technical astuteness. Bold, visually striking and breathtaking. The acting was outstanding from everyone. Davis commands the screen, portraying a serious woman who just wants to get the job done. Debicki was exceptional. Neeson always dependable. Rodriguez showcasing some acting. Kaluuya menacing. And even Duvall has plenty of bite to his character. My only criticism is that there are a few plot points, particularly the building designer, that felt too convenient. Understandably the story must keep moving, but these details could've been addressed more realistically. Having said that, I found no other faults. Widows' portrayal of corruption is hypnotic, and this is bolstered by McQueen's direction, Flynn's writing and nuanced acting.0 member like this review.
