REVIEW: ‘Widows’ introduces depth to heist genre

Director Steve McQueen has faced heavy anticipation for his first film following the Academy Award-winner “12 Years a Slave.” On Friday, the British director and screenwriter released “Widows,” an empowering film that succeeds through strong cinematic value and an even stronger political statement.

With this movie, McQueen updates Lynda La Plante’s original miniseries for the modern era, setting the story in present day Chicago. After their husbands are killed during a failed robbery, four women (Viola Davis, Elizabeth Debicki, Michelle Rodriguez and Cynthia Erivo) take fate into their own hands and conspire to forge their own futures.

The irony behind the film’s success is that it is easily McQueen’s worst movie. Unlike his past films, “Widows” has the broadest mainstream appeal as a heist thriller. Still, the claim holds little water for the director,  as his past projects “Hunger,” “Shame” and “12 Years a Slave” are considered some of the best films of the past decade. While McQueen compromises some of his artistic integrity with the intent of creating a blockbuster, he still finds ways to make an otherwise formulaic movie engaging and exciting.

Unlike many popular Hollywood productions, “Widows” does not glamorize its protagonists. In preparation, Davis decided to pick a wig for her character, Veronica Rowlings, but McQueen opposed it, asking  Davis to use her natural hair instead.

There was also no calculated plan in casting the four leads. McQueen prioritized talent, which is best illustrated by his adamant decision to cast Rodriguez, despite others warning  him of her reputation.

With this mindset, McQueen assembled a diverse group of women who have an infectious dynamic, with Davis and Debicki putting up standout performances as Veronica and Alice, respectively.

McQueen also does not directly portray the protagonists as empowering, and instead places them in dire circumstances. In fact, when McQueen first offered Rodriguez to play Linda, she did not accept the role because the character reminded her too much of her own upbringing. By placing the central characters in these situations, however, McQueen allowed viewers to naturally empathize with them.

For Veronica, the death of her husband Harry (Liam Neeson) is the final blow to her mental well-being, after recently  losing her son to police brutality. Alice (Elizabeth Debicki) suffers from a history of domestic abuse from both her husband and mother, and Linda is a mother of two trying to manage her family’s business.

The leads’ circumstances are only part of the conflict, as the film’s deplorable male characters provide glimpses into the vileness and corruption of Chicago. Through Jack (Colin Farrell) and Tom Mulligan (Robert Duvall), McQueen illustrates economic segregation, political corruption and nepotism. Duvall delivers an unexpectedly frightening performance, highlighted by a heated and racially charged conversation with Farrell.

However, from the four leads’ perspective, the Mulligans only indirectly affect their situation, and they are instead confronted by Jamal (Brian Tyree Henry) and Jatemme Manning (Daniel Kaluuya). While Henry makes the audience sympathize with Jamal, Kaluuya tears down this sympathy as Jatemme.

A cold and calculated mobster may sound one-dimensional on paper; however, Kaluuya shows range and nuance, effectively times his actions and lines and creates one of the most terrifying film villains in recent years. When he interrogates the handicapped owner of a bowling alley about Harry, he is paralyzingly frightening as he casually and continuously stabs the man.

Of course, McQueen shines as a director. The mainstream appeal of “Widows” prevented him from showcasing his full potential, as the film never quite replicates extraordinary moments like the 17-minute shot in “Hunger.” Still, McQueen manages to pull off some defining scenes, such as filming Jack’s extensive car ride from empty storefronts to his million-dollar mansion in one continuous shot, with the camera swaying side to side.

The opening scene of the movie is simultaneously empowering and enthralling, as a passionate kiss between an interracial couple is intercut with a high-speed car chase. It is one of many instances when McQueen excels in timing and abruptly revealing information, as he waits until the audience grows accustomed to the act of love before bringing a sudden burst of action.

Despite creating a heist thriller, McQueen manages to deviate from the expected genre with the help of co-writer Gillian Flynn, the author of “Gone Girl.” The tone and dialogue-heavy scenes help elevate the film beyond simple escapism. The conversations feel genuine and sometimes let natural humor seep in.

Due to some shocking moments, McQueen and Flynn slowly build the story to the final, pulse-pounding heist. While this climax is short-lived, it is still fulfilling to see these women take full control of their lives after braving unfortunate circumstances for so long.

Even though it signals a noticeable departure from the rest of McQueen’s stellar filmography, “Widows” still succeeds. The film’s mass appeal, as a whole, allows some out-of-place moments and notable clichés to be scattered throughout without sacrificing its overall poignancy.