*****
When their husbands are killed in a botched heist, four widows form an unlikely alliance to overcome the debt left behind.
In the hands of a less skilful or sensitive director, Widows could have easily become a film rife with cliches and eye-rolling parody. Instead, with Steven McQueen behind the camera, this unassuming film has become, almost undoubtedly, one of the movies of the year. An articulate study of grief, social politics and female determination (as well as an impressive explosion or two along the way), Widows makes for a gripping, emotionally intelligent piece of filmmaking. This isn't just a heist movie with females at the helm - it's a smart depiction of women under pressure, as well as the juxtaposition of the haves and have nots, and the corruptible nature of power.
From the very opening, we are plunged into a world of violence and ruthlessness. Juxtaposing contrasting scenes of home life with the drama of a heist gone wrong, we find ourselves thrown into the lives of the women at the centre of the film. Refreshingly though, each female character is not depicted as a one-dimensional 'angel of the house' - these are real, 'warts and all' women, who don't instantly form a sisterhood, but build an uneasy relationship based on a mixture of anger, fear and determination. Masterminding the plot to retrieve the money stolen by her husband is Veronica (Viola Davies in another brave performance) - a tight-lipped, at times relentless, matriarch. In contrast to Veronica is Elizabeth Deicki's Alice. Assumed, by both the audience and other women, to be nothing but a 'dumb blonde', the skills learnt throughout her hard life soon become invaluable to the mission. Michelle Rodriguez, almost typecast as the 'tough girl' in her other films, breaks out of the mould, as a struggling mother. In each case, strength and vulnerability are blended almost irrevocably.
Although the story of widows is undoubtedly at the heart of the film, there is also an interesting socio-economic commentary running in parallel in the form of a Chicago election between two men from very different lives. Colin Farrell (as Jack Mulligan) gives a touching performance as a man forced into a world of politics and lies by his father, whilst his counterpart, Jamal Manning (Brian Tyree Henry) comes from a world of violence and poverty. Whilst this political story line sometimes feels at odds with the central narrative, it remains an engaging and timely study of America today.
It's not just the story itself that's engaging either - it's the way the film has been shot. From the striking use of mirrors to provide an immersive, multi-faceted view of a character, to a particularly interesting sequence in which a camera outside a car observes the passing scenery, from the poverty of the Projects to the luxurious elegance of an upper-middle class neighbourhood, instead of the characters talking inside, each camera shot feels considered. Again, scenes which would normally be filmed conventionally are elevated by McQueen's eye for the disarming and the artistic. As remarkable as these sequences are, however, they don't feel you feeling disjointed from the rest of the film - they merely remind you that you are in the hands of a very capable director.
Tense, taut and tangible, Widows is far more than it initially appears to be. Boasting outstanding performances from a varied cast, it brings the multi-faceted nature of human beings to life in an illuminating and intelligent way. Fusing action sequences with moments of grief and quiet rage, it culminates in a viewing experience that's both touching and enjoyable in equal measure. Go see it.
In the hands of a less skilful or sensitive director, Widows could have easily become a film rife with cliches and eye-rolling parody. Instead, with Steven McQueen behind the camera, this unassuming film has become, almost undoubtedly, one of the movies of the year. An articulate study of grief, social politics and female determination (as well as an impressive explosion or two along the way), Widows makes for a gripping, emotionally intelligent piece of filmmaking. This isn't just a heist movie with females at the helm - it's a smart depiction of women under pressure, as well as the juxtaposition of the haves and have nots, and the corruptible nature of power.
From the very opening, we are plunged into a world of violence and ruthlessness. Juxtaposing contrasting scenes of home life with the drama of a heist gone wrong, we find ourselves thrown into the lives of the women at the centre of the film. Refreshingly though, each female character is not depicted as a one-dimensional 'angel of the house' - these are real, 'warts and all' women, who don't instantly form a sisterhood, but build an uneasy relationship based on a mixture of anger, fear and determination. Masterminding the plot to retrieve the money stolen by her husband is Veronica (Viola Davies in another brave performance) - a tight-lipped, at times relentless, matriarch. In contrast to Veronica is Elizabeth Deicki's Alice. Assumed, by both the audience and other women, to be nothing but a 'dumb blonde', the skills learnt throughout her hard life soon become invaluable to the mission. Michelle Rodriguez, almost typecast as the 'tough girl' in her other films, breaks out of the mould, as a struggling mother. In each case, strength and vulnerability are blended almost irrevocably.
Although the story of widows is undoubtedly at the heart of the film, there is also an interesting socio-economic commentary running in parallel in the form of a Chicago election between two men from very different lives. Colin Farrell (as Jack Mulligan) gives a touching performance as a man forced into a world of politics and lies by his father, whilst his counterpart, Jamal Manning (Brian Tyree Henry) comes from a world of violence and poverty. Whilst this political story line sometimes feels at odds with the central narrative, it remains an engaging and timely study of America today.
It's not just the story itself that's engaging either - it's the way the film has been shot. From the striking use of mirrors to provide an immersive, multi-faceted view of a character, to a particularly interesting sequence in which a camera outside a car observes the passing scenery, from the poverty of the Projects to the luxurious elegance of an upper-middle class neighbourhood, instead of the characters talking inside, each camera shot feels considered. Again, scenes which would normally be filmed conventionally are elevated by McQueen's eye for the disarming and the artistic. As remarkable as these sequences are, however, they don't feel you feeling disjointed from the rest of the film - they merely remind you that you are in the hands of a very capable director.
Tense, taut and tangible, Widows is far more than it initially appears to be. Boasting outstanding performances from a varied cast, it brings the multi-faceted nature of human beings to life in an illuminating and intelligent way. Fusing action sequences with moments of grief and quiet rage, it culminates in a viewing experience that's both touching and enjoyable in equal measure. Go see it.
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