A Reel Review: WIDOWS

In the last seven years, writer and director Steve McQueen has established himself as one of our premier filmmakers; from his sexually-charged thinker SHAME in 2011, to his Oscar-winning historical epic 12 YEARS A SLAVE in 2013. Each of those films had simple concepts which he was able to add layer after layer of story and character, and his first voyage into a genre gives him the opportunity to do it again. 

A crew of high-profile criminals (Liam Neeson, Jon Bernthal, Manuel Garcia-Rulfo, Coburn Goss), are killed in a botched robbery, leaving their widows (Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Carrie Coon), in debt to a corrupt politician (Brian Tyree Henry), who is running for office against an upcoming political star (Colin Farrell). With little money and little choice, the widows decide to finish their husbands last planned robbery (worth $5 million). 

Based on the 1983 ITV series of the same name, and co-written by Gillian Flynn (of Gone Girlfame), WIDOWS right away has the potential to fall into the old template that any heist-film has; get the crew together, make plans, overcome obstacles, get along with each other, execute the job. Never one to follow any trend, McQueen puts together a film that is more concerned with the past history of the widows and their husbands, the political corruption that is entangled with their husbands’ robberies, street violence, love and loss, and family drama. There are many storylines going on and McQueen weaves them in and out of each other brilliantly, all coming together in an explosive end. 

Characters are dug into with unexpected flashbacks; each of the widows have histories of abuse, lies, and tragedy, and it makes their current predicament of paying back the debt all the more desperate. The old elements of the heist are still there, but they mercifully fall into the background and don’t take up the bulk of the film. For good measure a minor mystery is thrown in; as the widows try to discover the secrets behind the last planned heist. 

When the heist does start, McQueen films it with the expert touch of a veteran action director. The tension-building is excellent, and it has a gritty, real-world feel that never escapes the realm of believability. Pacing is brisk, the humor subtle, and a few well-timed twists are a lock to take away some breaths. The film looks gorgeous as McQueen fills his frames with an outstanding eye. Hans Zimmer’s score is excellent. 

Acting is absolutely tremendous. Viola Davis carries most of the film as her character is the most wounded and has the most to lose, and an emotional-outburst scene with Liam Neeson is simply stunning. As good as Davis and Neeson are, there are a lot of show-stealers here; Elizabeth Debicki as one of the widows shows a lot, Colin Farrell has a lot of family drama to deal with…which involves his power-hungry and controlling father (wonderfully played by Robert Duvall), and Daniel Kaluuya, as the street-thug, right-hand-man of one side of the election, turns in a surprising role as the villain. Cynthia Ervio pops in as the widows’ getaway driver and is very good. 

The third act and finale is a super-sized mix of surprises and tragedy, and then brilliantly comes back down to wrap up the characters and set their courses for their future. By the time credits roll there is a lot to take in, think about, and wonder if we can believe what we just saw. Steve McQueen has fashioned a masterpiece again; another thinker of a film with layers of story and character. 

BOTTOM LINE: See it