11/18/18 - Widows (2018) - 7-/10

A tasty bit of popular cinema but with an artist’s eye and independent panache. This is a character driven drama with those mission-oriented robbery thriller elements stabbed into the taught underbelly. I appreciated a different approach to the standard; one that is more heartfelt, without sacrificing the mental cogs turning or the twists that must naturally arise. This isn’t my favorite McQueen feature, but I certainly enjoyed myself and his artistic flourishes jazzed me up.

McQueen and his usual DP Sean Bobbit brought a fresh and cinematically stylish attitude to a fairly standard and usually generic action filmed genre flick. The “long car oner” shot certainly stands out, brilliantly highlighting the racial/class divides and the character of Farrell. But there are many other idiosyncratic touches: the deep close-up shot of Davis’s lips, dragging out the pain through her cigarette and the odd broken halo of Davis as she weeps in her white penthouse.The legs of general action/crime film are undercut - in one of the biggest action scenes it is cross cut with gentle scenes of life from the those involved. Similarly, the 2 “chase” scenes are filmed all from the back looking out and from in front of the front window looking back. None of the quick cuts and varying points of view. No, they stuck with the singular continuing point-of-view, letting them simmer in intense realism and providing a payoff from sacrificing the norm for a more artistically significant offering.

The acting was tremendous. Viola Davis is marvelous. Driven but broken, high and mighty but ultimately vulnerable. She brings the fury, the fear, the trepidation, and the tears. Powerful in an amazingly actor way.

Debicki has a solid journey. She may be the best of these women. Naive but moved to be her strongest self. She is almost always really good and this was no different.

Rodriguez is Rodriguez, but she delivers her own brand of goods. A sly blend of strength and vulnerability.

Erivo was nigh enchanting for her short presence. Pairing this with her performance in Bad Times at the El Royale and she is a force to be reckoned with and automatically seen going forward.

Coon was criminally underused.

Kaluuya stole the show for me. Stringer Bell meets Anton Chigurh, chilling, deadly, and alien. A fine villain that you couldn’t take your eyes off of.

Unfortunately, there are plenty of social interjections and issues that felt a tad crammed in and clumsy. The son’s storyline felt slight and almost topical for topical sake. It’s not that every issue of race, class, criminality, sex, gender, etc. weren’t handled with thought and care, but it appeared a touch over-stuffed. The film also came off as quite Flynn-ish (the co-writer); legitimate and powerful but with twists that might stretch credibility/enjoyability.

This isn’t a smooth and slick genre thriller. It is mostly planning but there is a power flux. The person in charge is subtly flinging from person to person. The scheme is 2nd to the people pulling it off and the cinematically fresh way it is being presented. Widows may not be any kind of game changer, but it is terrific acting and smart directing. A fine film that makes its own path to a usual destination.