Steve McQueen just slays me.
His newest work, Widows, is easily one of the best movies this year. It's got an ensemble cast all at their best. A riveting, timely, and complex screenplay -- co-written by Gillian Flynn -- that balances heist with drama perfectly. A gorgeous score by Hans Zimmer and haunting cinematography from Sean Bobbitt. And, of course, a fresh story expertly told and so relevant to 2018 America that it's hard to know where to start praising it.
When a group of criminal men are killed during a robbery gone awry, the mourning time for their widows is cut violently short. Threatened by Jamal Manning (Brian Tyree Henry), a crime boss from whom the men stole $2 million, the widows band together to pull off a heist for $5 million, based on plans left by Liam Neeson (does he ever really need a character name?) and discovered by his widow Veronica (Viola Davis). Her team includes Michelle Rodriguez, Elizabeth Debicki, and Cynthia Erivo, each woman offering special skills to make the heist possible.
What really makes this movie pop -- apart from the multitude of stars delivering powerful work in front of and behind the camera -- is its attitude and ability to tap into real issues. The women are unhappy, bereaved, terrified. They don't want to do the heist, which is significant in the wake of Ocean's 8 because so many heist films hinge on the enjoyment/entertainment aspect. More importantly, this film doesn't shy away from the messy disaster zone that is Chicago crime, metro politics, and issues of poverty, race, and the endless cycle of violence. The plot is seemingly initiated because of a high-stakes political race for alderman of a South Side precinct. Manning is seeking to upset the career politician dynasty of the Mulligans, father and son (Robert Duvall and Colin Farrell) whose wealth and power (and racism) are laughably out-of-place. So often these films paint the politicians as either clueless or corrupt but ineffectual. Not so here.
I won't spoil much more, because this is the rare heist that you have to feel rather than understand. It's raw and sharp, determined to get under your skin from the outset. Because Gillian Flynn helped write it, you can expect some sharp gender tension along with a brutal critique of normative roles, as well as some slick racial commentary including police brutality; you can also expect some capital-C Crazy plot twists, including affairs, returns, murders, money, elections, and friendships forged in fire. It's dark and disturbing, never less than entertaining, and fabulously original.
IMDb: Widows
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