Widows

Release: Friday, November 16, 2018

→Theater

Written by: Gillian Flynn; Steve McQueen

Directed by: Steve McQueen

Steve McQueen, master of the discomforting drama, is back at it again with Widows, an uncommonly menacing heist thriller that makes room for trenchant social commentary in between fits of short-lived but significant action. Given his past films, I guess I understand the sentiment but I still think it’s disingenuous to describe his brand of crime drama as purely popcorn-spilling entertainment. That’s what The Italian Job and Ocean’s Whatever Number We’re On Now are good at. Realized through some of the year’s most intense performances, Widows is SERIOUS (and seriously good).

The fun begins when a multi-million-dollar robbery goes awry leading to the deaths of professional criminals Harry (Liam Neeson), Florek (Jon Bernthal), Carlos (Manuel Garcia-Rulfo) and Jimmy (Coburn Goss). As it usually goes, the amount stolen isn’t really the story, it’s from whom they’ve stolen and how badly the aggrieved party wants it back. That isn’t so much a problem for the men anymore, but it is for the wives they’ve abruptly left behind. It’s especially problematic for Veronica (Oscar winner Viola Davis), whose beloved Harry was the one who decided it would be a good idea to thieve $2 million in campaign funds from Jamal Manning (Brian Tyree Henry), a crime boss gunning, quite literally, for county alderman in Chicago’s South Side — a seat seemingly forever occupied by the notoriously racist Mulligan clan. Oscar winner Robert Duvall plays the incumbent Tom Mulligan.

With a disgruntled Manning breathing down her neck (also quite literally), Veronica finds herself with no choice but to attempt to carry on the work of her late husband, whose scent still clings to the pillows and bedsheets. When she comes across Harry’s notebook, in which lay detailed plans and building schemata for a future job worth $5 million, she rounds up two of the other four widows, Linda (Michelle Rodriguez) and Alice (Elizabeth Debicki), with the fourth, Amanda (Carrie Coon), keeping her distance. In two hectic weeks this crew, bound only by circumstance, will have to bring themselves to not only face the realities of what their husbands did to provide, but they must also make their tricks their own. They’ll also need a getaway driver (Cynthia Erivo).

On paper, that seems like the groundwork for your traditional heist plot. But McQueen’s films have always been complex works, the material rooted in the concept of freedom, whether that’s political (as in Hunger, wherein IRA member Bobby Sands led his fellow inmates on a hunger strike in an effort to be recognized as British POWs), sexual (such as we witnessed in Brandon Sullivan’s self-destruction in Shame), or civil (see Solomon Northup trying to untangle himself from the antebellum south in 12 Years a Slave). They’ve consistently been challenging viewing experiences as we’ve seen the things the suppressed and oppressed have had to sacrifice in order to gain said freedoms.

The kind of freedom Widows is concerned with is maybe less obvious. This is about what having money — a lot of it! — can provide (a new life maybe, but also political influence, the tools needed to change a current and possibly loathsome paradigm — precisely what the Mannings are aiming for here, albeit via morally bankrupt methods), and, conversely, the desperation that arises in its absence. By extension, having money means having the freedom of choice and McQueen (who wrote the screenplay with best-selling author Gillian Flynn, of Gone Girl fame) seamlessly dovetails the economic with the societal, making the crux of the action — indeed, the execution of the heist itself — about more than a matter of financial necessity. This is an emotional gauntlet that sees the quartet evolve from prized possessions to steely-nerved agents of their own liberation. They’ll use this robbery to simultaneously pay back a debt, make a little profit and break free from a past where not everything is as sunny as it once seemed.

Some trajectories are more compelling than others. Debicki’s Alice is a truly heartbreaking character, a pretty girl held hostage to abusive relationships and whose own mother (Jacki Weaver) compounds her low self-esteem by encouraging her to sell her skin as a way to support herself. See also the extraordinarily confident Veronica, whose arc is responsible for some of Widows‘ biggest moments. Davis is a dominant force, but what else is new? Sadly we don’t get quite as close to Rodriguez’s clothing store owner, which is a shame because this is a more mature role for an actress I will forever link (ironically) to the heist-driven Fast & Furious franchise.

Beyond its thematic textures, what makes Widows a cut above your standard procedural — get-in, get-out and get-away-for-good — is how large the threat of physical violence looms; how grave the situation is. The men in the film are almost universally antagonistic, imposing figures, whether that’s Brian Tyree Henry’s physical size or the omnipresence of his character’s younger, psychotic brother Jatemme (a nightmarish Daniel Kaluuya), or Robert Duvall leaning upon decades of dramatic clout to justify his slightly more histrionic outbursts. The complex political landscape of inner-city Chicago is brought to life by these excellent performances, a number of which are destined for awards consideration.

Ultimately Widows is grittily entertaining, but more importantly it sends a powerful message of what it can look like and how it can feel to be female and empowered in an era where the leader of the free world is boasting about grabbing his fellow Americans by the crotch.

Recommendation: Elegant in style, bleak in tone and often uncomfortable to watch, Widows is absolutely a product of British director Steve McQueen. That might be all the endorsement I need to give. This movie kicked my ass, and sometimes that’s just what the doctor ordered.

Rated: R

Running Time: 129 mins.

Quoted: “No one thinks we have the balls to pull this off.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

Advertisements

14 thoughts on “Widows

  1. Pingback: Month in Review: November ’18 | Thomas J

  2. Can’t wait to own the Blu-Ray so that I can unpack all of the little intricacies and details McQueen and Flynn put into this. I was pretty engrossed in the themes and characters; as you say, not all have the fleshing out that their performances warrant (there’s not a weak one in the bunch, imo), and didn’t mind that the actual heist happened in 7-10 minutes of runtime.

    Wish this was getting more box office love.

    • Yeah, that is a good point. This movie was engaging all the way through, and yet the heist itself was very fleeting. That’s even more a testament to the performances and McQueen’s direction. The action doesn’t last long but man he doesn’t let you forget it very easily. My chest was pounding when they came across Robert Duvall in the hallway there.

  3. I enjoyed this, but not as much as “fun” heist movies like The Italian Job and Ocean’s Eleven. Let’s throw Inception in there too shall we? Widows is very very good, BUT I think Steve McQueen could’ve directed this simple genre film at heart, with a lighter touch.

    • The heaviness worked for me but I take your points. High entertainment value is usually built in to the formula for these kinds of movies. Not sure if I would necessarily describe Widows as an outright entertaining entry. It’s proving to not be many people’s cups of tea, i see. The disparity between the critical and audience response on Rotten Tomatoes says a lot

Seen the movie? What do you think?

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.