Directed By Steve McQueen
Starring – Viola Davis, Michelle Rodriguez, Elizabeth Debicki
The Plot – The story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. Set in contemporary Chicago, amid a time of turmoil, tensions build when Veronica (Davis), Alice (Debicki), Linda (Rodriguez) and Belle (Cynthia Erivo) take their fate into their own hands and conspire to forge a future on their own terms.
Rated R for violence, adult language throughout, and some sexual content/nudity
– Possibly the best ensemble casting of 2018. Aside from accredited actresses like Viola Davis keeping a firm grip on your attention each time she’s on-screen, because of impeccable range that channels the dynamic between rage and grief, or Robert Duvall’s deep-seeded racism that acts as an outline for the politics played throughout, the film is really a casting call for the underdogs take the reigns. Debicki gets possibly the most focus throughout the film, and it’s interesting and extremely satisfying to see the edginess from this once battered housewife come to life because of the feat she’s tasked with. Also great is Daniel Kaluuya as this dangerously cool gang leader with no remorse for those he hurts. For Daniel, this may be the role that takes his career in a completely different direction, as he makes the most in every scene by chewing up the scenery that he invades.
– McQueen’s unorthodox camera styles. Part of what makes McQueen one of my three favorite directors is his ability to experiment with opposite approaches and unnerving patience when it comes to long takes, and that’s certainly the case here. One such scene involves a car ride, in which none of the characters are shown, only heard, and instead we are focused upon the rapid change in city living, from the slums to the mansions, in a matter of seconds. McQueen uses this to channel not only city official’s hypocrisies by not living somewhere they represent, but also in the dynamic of differences between them visually, and it disturbs us with this unshakeable feeling that these officials could do so much more, yet choose to keep things the way they are. There’s also manipulations and bending with scenes involving mirrors, that allow the audience to keep an eye on the facial registry of each character in frame, during scenes we would otherwise be behind their backs.
– Much more than a heist film. Part of what works for Gillian Flynn’s writing as novelist and screenwriter, is that she understands that it’s the ingredients that go into the pot that make it a much tastier sizzle, giving these ladies an outline of grief, fear, and especially vengeance, that the film focuses so prominently on. In fact, the heist itself takes place in the film’s final fifteen minutes, emphasizing the care and concern for the characters above the mission itself, and never does that decision hinder or corode the material’s deeper meaning. This also feels like much higher stakes than something like “Ocean’s Eight”, in which the ladies didn’t have to do the heist like the women in “Widows” did.
– As for the heist itself, it is very much grounded in reality, and capped off with a beautifully layered sound design that rattles and conveys urgency during the film’s climax. As with any heist movie, there is much that goes into the mission itself, but nothing ever feels unbelievable or stretching in logic, and I appreciate that during an era when heist movies embrace the far-fetching, here’s a film that would rather keep it simple by instead indulging in the air of the atmosphere itself. It helps that these ladies have gone over every angle of the plan to a tee, but what really comes to focus is their ability to adapt under pressure, providing a metaphorical reminder of what life has already thrown at them and forced them to deal with on their own.
– McQueen’s presence in guiding this complex narrative. “Widows” uses every bit of its two hour run time to commentate and tackle on the world’s sociological stratosphere instead of feeling like an entertaining film first. This is very much a slow burn kind of movie, and if that’s not your bag, it might feel enduring to you, but for me I appreciated this director’s patience in taking his time not only with the script, but also in giving each of the characters a proving ground amount of time to cement where they stand in this story. Davis is obviously the main character in the film, but in a sense it feels like all of these women are tough in their own way, proving that the many shapes, sizes, and colors of a gender have one thing in common: strength.
– Exceptional editing that really articulates the thought process behind grieving. Many sequences of isolation involving Davis’s character, deal with her channeling these memories of her and her former husband (Played by Liam Neeson), and it’s done in such a way that blends perfectly with the progression of the current day scene. Audio overlaps and quick-cut edits to remove a character, are just a couple of the measures taken in rendering these psychological takes, and the pacing of each sequence replicates the idea that Davis mind is a million miles away, even for a few seconds after someone starts talking to her. Brilliant visual representation that I’ve only seen topped by Jean-Marc Vallet.
– Possibly the most important film during the #MeToo era. Aside from the obvious of women banding together to accomplish a common goal, the film’s ability to put these women in predicaments that are historically male-driven is something that I commend the movie greatly for. There are males in the film, but the focus remains persistent with these hearts of the household, depicting that even the ability to drop it all and decide to engage in this heist is something that isn’t as easily said for women with great responsibilities. “Widows” feels like a movie that alludes that women aren’t to be overlooked or underestimated, and it makes me want more crossover roles for women that doesn’t demean their talents or keep them in the bubble of female confinement that reminds you endlessly of their gender.
– There’s a lot of subtle nuance to the revelations between characters and situations in the film, that cater to the belief that Flynn has in her audience. Most of these are object related, and don’t cater to the kind of screenplay, in which the writer is beating the audience over the head deliberately, with obvious clues and hints as to what they are alluding to. Instead, the movie pays off audiences who have stayed firmly in-grained into the layers of onion that the film has slowly been peeling, and because of such will reap the benefits once the direction takes a different step. Aside from what I already mentioned, I adore this because it feels very much like reality, instead of the distractions that screenplays present. If you watch this film, be sure to pay attention to objects in addition to characters.
– There’s a twist midway through the movie, that while it did floor me in surprise for how I didn’t see it coming in the slightest, it doesn’t do much for the remainder of the film in terms of impact. I feel like I will be in the minority here, but it felt tacked on to me to provide an unnecessary final conflict. In my opinion, the motivation of the women were stronger before this twist, and I wish the film felt confident enough to keep rolling with the punches of that original direction, because it makes the vengeance feel more raw and polished, and this new twist takes too much of the focus away from the women and their mission.
– No pay-off to certain subplots. Without spoiling anything, I will say that there are subplots between characters that are mentioned frequently, like there is going to be a major impact to the story, and then just kind of fizzle out when the film finally concludes. This left me with a couple of questions walking out of the film, and upon thinking about them now, I can’t help but point to them as the noticeable distractions to pad this story out. Could the film have been told properly without them? Yes, on most of them, and it would’ve only added to the fluidity of the script, that can sometimes trip itself up with the big conclusion of its properties.
My Grade: 8/10 or B+