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WIDOWS (2018) – CINEMA REVIEW

WIDOWS (2018) – CINEMA REVIEW

Directed by: Steve McQueen

Produced by: Steve McQueen, Iain Canning, Emile Sherman, Arnon Milchan

Screenplay by: Gillian Flynn & Steve McQueen

Based on: Widows by Lynda La Plante

Starring: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Robert Duvall, Liam Neeson

**MAY CONTAIN SPOILERS**

Widows Film Poster

I was really looking forward to this new film from acclaimed and highly talented filmmaker Steve McQueen. Firstly, his previous directorial releases including 12 Years a Slave (2013), Shame (2011) and Hunger (2008) were all fierce works of drama. Secondly, the story is based on Lynda La Plante’s excellent British television series from the 1980s; plus it has a fantastic ensemble cast led by Viola Davis, Liam Neeson, Colin Farrell, Daniel Kaluuya and many more. So, why was I slightly underwhelmed by the end of the film? I mean all the cinematic elements were of the highest quality, yet, for me, it just did not catch fire.


Liam Neeson and Viola Davis

After the death of her husband, Harry Rawlins (Neeson), Viola Davis’ Veronica, decides to use his plans to attempt a daring robbery enlisting the help of the other crime widows. The stakes are high as Harry’s last job pissed off some dangerous people and they want their money back. Transplanting the action from the La Plante’s tough London setting to contemporary Chicago retains the gritty backdrop of the original. Indeed, Gillian Flynn and Steve McQueen’s script keep the beats of the heist plot and structurally the film is very sound. However, the addition of political subplots involving a district Alderman Election between Colin Farrell’s Jack Mulligan and Brian Tyree Henry’s Jamal Manning, while adding extra flavour to the mix, at times, slow down the pace of the heist narrative. Even a subplot flashback involving Viola Davis’ son, while adding important empathy for her character, felt like it was from another film. Thus, a movie can be about many things; however, I just felt that a lot of the themes were at a surface level of emotion.


Daniel Kaluuya and Brian Tyree Henry
Daniel Kaluuya and Brian Tyree Henry in Twentieth Century Fox’s WIDOWS. Photo Credit: Courtesy Twentieth Century Fox.

The acting and direction in the film is excellent. Viola Davis, Michelle Rodriguez, Elizabeth Debicki and Cynthia Erivo are all brilliant; although, Erivo’s character seemed to be introduced slightly late for me. Yet, I wanted the film to be even more about the women’s struggle in this traditionally masculine world. Maybe I’m being harsh as the filmmaking is really good, but it got bogged down by too many sub-plots. Moreover, where suspense could have been gained when Debicki’s character goes to buy guns we get a throwaway scene played for humour. The male characters are generally portrayed as corrupt, psychopathic or simply evil; especially where Daniel Kaluuya’s psycho turn is concerned. Brian Tyree Henry is a very interesting actor too and I have watched a lot of him in the TV show Atlanta. However, his impact on the story is slowly dissipated throughout.


Cynthia Erivo, Michelle Rodriguez, Viola Davis, Elizabeth Debicki

Overall, Widows is a very solid genre offering from Steve McQueen and his team. All the elements are there for a barnstorming crime thriller with racial and political elements as texture. Plus, while I knew of a couple of decent twists from the original the script delivers them very well. However, there were also several plot-holes within the story which could not be reconciled. I guess with my expectations high I was expecting the doors to be totally blown off due to the incredible talent involved. However, they remained firmly on their hinges by the time the credits rolled.

Mark: 7 out of 11


SCREENWASH ROUND-UP! REVIEWS OF: FENCES, MOONLIGHT & SPLIT

SCREENWASH CINEMA REVIEWS OF: FENCES, MOONLIGHT & SPLIT

**CONTAINS SPOILERS**

FENCES (2016)

Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character Troy Maxson and his long-suffering wife, Rose; portrayed with significant humility and pathos by Viola Davis. Great support comes also from Mykelti Williamson as Troy’s mentally impaired brother, Gabriel.

Troy’s character is very charismatic and he delivers some hearty yarns from his past, but he’s also bitter and a drinker and, while he has had a hard life, he bullies everyone around him. His sons and more importantly his wife Rose put up with it but eventually he grinds everyone down, pushing them away with his boorish “I-know-best” arrogance and aggression. With her quiet power Viola Davis more than matches Denzel Washington’s grandstanding and Rose’s heartfelt speech toward the end of the film is a stunning retort to her husband’s continual tirades and emotional neglect.

fences


I’ve seen some criticisms of the film stating it is too “stagey”. Well, as it is based on a play that is understandable, yet, August Wilson’s words are a thing of beauty and therefore deserve focus. I think, while directing, Denzel Washington could quite easily have opened up the settings and had conversations on the street, but the decision was made to “fence” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall the performances alone make the film feel cinematic. (Mark: 9 out of 11)

MOONLIGHT (2016)

Barry Jenkins low-budget contemporary drama is another brilliantly acted character memoir; although when compared to Fences it benefits from a more complex structure and cinematic style.  Split into a trio of linear timelines from the same characters’ lives we get three different actors representing the life and changes which occur in Chiron’s existence; with chapters named, Little, Chiron and Black.

Each section draws us into the characters’ world as Chiron searches for meaning, identity and direction as to who he really is as a person. With his father absent Little Chiron (Alex Hibbert) cannot find satisfaction via his mother, an angry and lost woman portrayed brilliantly by Naomi Harris. Small for his age he is also at the mercy of school bullies and while a random meeting with a local drug dealer, Juan (Mahershala Ali) provides Little with a mentor to connect with it doesn’t sustain. Ali as Juan, like most of the performances, delivers a subtle realisation of a character trapped by his life choices and perhaps sees some redemption in ‘Little’. Alas, due to his lifestyle and ‘job’ he is clearly not the role model ‘Little’ needs.

moonlight-barry-jenkins-film-roundtable

In the second and third sections Chiron’s relationship with his best friend Kevin comes to the fore both in terms of some powerful drama and intimate sexual connections. Barry Jenkins framing, colour design, use of music and editing choices all commit to create a poetic and fragmented style, further drawing me into Chiron/Black’s story. Chiron’s continual search for identity and meaning in the world reflects the most essential of human needs: the search for identity and love. Overall, this is a film of harsh and beautiful moments and each segment was layered with so many emotions and so skilfully told that I wanted to see more of the characters. (Mark: 9 out of 11)

SPLIT (2016)

Split (2016) is an altogether different film about the search for identity. In fact the lead character portrayed devilishly well by James McAvoy has TWENTY-THREE different people battling around his mind and something is about to give. Let me say that a film like Split won’t be challenging the Oscars because in essence it is a terrifying B-movie thriller, however, McAvoy gives a performance of such quality it reminded me of Anthony Hopkins as Hannibal Lecter in his cannibal pomp. McAvoy’s twisted ability to switch between the many personalities was a real guilty pleasure as he earned his acting fee over and over and over again.

The story concerns three girls, Casey, Marcia and Claire (including an excellent Anya Taylor-Joy) who are kidnapped and imprisoned by the various personalities in Kevin Crumb’s head. Some – including OCD driven Dennis – are more dominant than others and attempt to wrestle total control, which is where McAvoy’s sly switches are a real joy to watch. As a cat-and-mouse plot bleeds out we also get some intriguing back-story flashbacks into Casey traumatic past. These events really add colour to the main narrative and ramp up the tension and suspense. The scenes between Kevin, his personalities and sympathetic Doctor Fletcher (Betty Buckley) also add some dark humour to the story. By the end though all humour is gone and we get a stunning and believable supernatural turn as Kevin’s mind unleashes an altogether different personality.

split-movie-002-1280x533

Writer/Director M. Night Shyamalan’s dalliance with big-budget-franchise-Hollywood-pictures – including: After Earth (2013) and The Last Airbender (2010) – did not do his career any favours. But with Split he is back on terrific form as he takes a simple abduction plot and renders it full of horror, twists and fantastical ideas. While I did not enjoy his previous film The Visit (2015) – mainly due to the stupid kid rapping throughout a decent horror story – this one is highly recommended for psycho horror fans and for McAvoy’s performance alone. (Mark: 8.5 out of 11)