This Is a Movie Review: ‘Widows’ is the Best Cinematic Crime Saga in Quite Some Time

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CREDIT: Twentieth Century Fox

This review was originally published on News Cult in November 2018.

Starring: Viola Davis, Elizabeth Debicki, Michelle Rodriguez, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Liam Neeson, Jacki Weaver, Carrie Coon, Robert Duvall, Lukas Haas, Garret Dillahunt, Molly Kunz, Jon Bernthal, Manuel Garcia-Rulfo

Director: Steve McQueen

Running Time: 129 Minutes

Rating: R for Professional Criminals at Their Scariest

Release Date: November 16, 2018

Sometimes I am at a loss of what to say about a film because of how powerfully it has affected me. Widows is one of those films. Its immediate effect was similar to that of The Dark Knight, in which I sat stunned, not quite sure what had happened, but certain that I had seen something special. Steve McQueen’s massively sprawling saga about Chicago crime and politics is populated by a ridiculously sterling cast, with at least ten, or maybe fifteen, of them receiving the gift of really juicy material to bite into.

Chief among them, in all fairness, are the titular widows, who are left to clean up the very expensive mess left behind by their recently deceased criminal husbands. Veronica (Viola Davis), Linda (Michelle Rodriguez), and Alice (Elizabeth Debicki) are forced to form an uneasy alliance or run the risk of the rest of their livelihoods dissolving away. While each actress is compelling, their characters are not necessarily likable. Do they bear some guilt for benefitting from their husbands’ activity despite not knowing what they were tup to? On the other hand, they are in many ways trapped in a situation with no good options for escape. Their predicament demonstrates the limits of feminism and standing up for a yourself in a world ruled by violence.

Thus far in this review, I have barely touched upon even 10% of this film. It runs just a little over two hours, but it is so stuffed with goodness that I am amazed it is under three hours, yet it is simultaneously so sleek that it feels like it is running for just an hour and a half. There are about six (maybe more) stories running alongside each other and somehow they run seamlessly together. There’s Bryan Tyree Henry as a crime boss trying to break good by running for alderman in a gentrifying neighborhood and Daniel Kaluuya as his brother and terrifying enforcer. His opponent is Colin Farrell, who is struggling with maximal agita as he finds his place as a successor in a long line of Chicago politicians. And we cannot forget Cynthia Erivo as a babysitter/beautician/hustler who also plays a big part in all this. Plus there is plenty more to know about the shadowy machinations of ringleader Harry Rawlins (Liam Neeson), Veronica’s husband. And how is there also room for Matt Walsh to show up for one key scene?! McQueen is dynamite with his clear, effective craftsmanship. If you see Widows, you will likely understand everything that happens plot-wise, and you might also just feel compelled to take part in the exhaustive analysis of every frame that is sure to follow in the years to come.

Widows is Recommended If You Like: Heat, The Town, The Dark Knight, “Sisters Are Doin’ It for Themselves” by Eurythmics and Aretha Franklin

Grade: 4.5 out of 5 Aldermen

 

This Is a Movie Review: Black Panther

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CREDIT: Disney/Marvel Studios

This post was originally published on News Cult in February 2018.

Starring: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, Andy Serkis, Sterling K. Brown

Director: Ryan Coogler

Running Time: 134 Minutes

Rating: PG-13 for Prolonged Fighting with a Variety of Weapons, Some of It Fairly Brutal and Bloody

Release Date: February 16, 2018

Black Panther culminates with the lesson, “The wise build bridges, while the foolish build barriers.” This appeal would seem to apply most directly to the United States at this particular cultural moment, but instead it is an exhortation to the fictional African nation of Wakanda now that its new king T’Challa (Chadwick Boseman) has ascended. Wakanda is filled with vast riches and incredibly advanced technology thanks to the stockpile of the alien metal vibranium long ago delivered by a meteorite crash. But it is also supposedly one of the poorest nations on the planet, likely due to a generations-long isolationist policy. Much of Black Panther feels like buildup to this point of opening up to the rest of the world, and in that way it is a prelude to the sequels that are sure to come. But what it reveals over the course of that prelude is thrilling.

Black Panther is not the first black superhero movie, but with a majority-black cast, black director, and African setting, it is unabashedly black in so many ways that are unprecedented for a blockbuster of this magnitude. It is unsurprising then that its initial villain is reminiscent of blaxploitation heroes fighting against The Man. Ulysses Klaue (an agreeably gonzo Andy Serkis) is a white South African arms dealer who is looking to get his hands on vibranium and make a pretty penny in the black market.  But after Klaue is dispatched, the conflict ultimately comes down to that between T’Challa and Eric “Killmonger” Stevens (Michael B. Jordan), who was born in America but has Wakandan roots and just as legitimate a claim to the throne as T’Challa. While Killmonger’s methods are overly destructive, his complaints, both personal and regarding how Wakanda does its public business, are legitimate. That Black Panther focuses on an intranational conflict should not be viewed as evidence of African and black cultures refusing to engage with the rest of the world, but rather an illustration that they already have plenty to keep themselves occupied.

While filled with several action set pieces and a fast-moving plot, Black Panther is most successful in its design and production elements. This is the sort of movie that brings a fully realized vision of a fictional world to life. The costumes are based on traditional African garb, but they are their own uniquely lavish style. Diverse tattoos and piercings add to the mix, including a few elements (such as one very stretched-out lower lip) that could be presented comically but are instead signs of dignity.

Culturally, this is a people that honors its elders, going so far as to have another dimension of sorts that exists at the nexus of technology and magic. Dubbed “the Ancestral Plane,” its purpose is for new kings to visit their deceased forebears for the sake of imparting necessary wisdom. Wakanda also treats its women in high regard, as they no big deal serve essential roles in government, science, and diplomacy. It may be true that the throne may not appear to be an option for woman (at least in this outing), but the monarchy is not as unilateral a position as it could possibly be. Considering all that progressiveness, it is disheartening that so much of Wakanda honor is bound up in a code of fighting and a culture of combat. That is not a complaint against the movie; in fact, what we have here is an appreciably complicated look at the difficulty to be a paragon of a nation.

The Black Panther is not just T’Challa, but rather a mantle that he holds currently. Accordingly, Black Panther the film is very much an ensemble piece, with attitude- and passion-driven performances from all the Wakandan tribes. The particular breakthrough is Letitia Wright (probably best known for the “Black Museum” episode of Black Mirror) as T’Challa’s spitfire younger sister Shuri, who manages to be both the comic relief and the Q to his James Bond.

Black Panther fits squarely within the overarching narrative of the Marvel Cinematic Universe, even though it can stand firmly on its own. Furthermore, it is nice to see it sidestep the easy template of the typical origin story that most solo superhero cinematic debuts tend towards. It has the standard two post-credits scenes, and weirdly enough they fit in the the MCU’s next chapter more squarely than other recent post-credits stingers. The last one is also more satisfying than those recent examples, perhaps because Black Panther takes care of its own, and we are ready when it stretches out.

Black Panther is Recommended If You Like: Shaft, Captain America: Civil War, Fruitvale Station

Grade: 3.75 out of 5 Headwraps

This Is a Movie Review: Get Out

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get-out-daniel-kaluuya

Get Out did not have me getting out of my seat from fright, which is unsurprising because I generally don’t get too scared at horror movies. But I imagine most people will not be frightened, as its techniques are less about jump scares (though it does have those) or general dread than about mindbending. Its signature concept (“the sunken place”) is a killer example.

This is basically cultural appropriation as body horror. Knowing that it is from Jordan Peele makes it easy – and sensible – to say that this concept could have started as a comedy sketch that evolved into a fright flick. And indeed, as the reveal plays out, it is clear that this actually has been done as comedy before.

I have a slight problem with a couple of moments that are endemic to the evil genius genre, in which small mistakes inexplicably give the hero a fighting chance. But I don’t want to quibble too much, because this is a clever extreme dramatization of a real societal fear, which is what the best horror movies do.

I give Get Out 18 Awkwardly Casually Racist Remarks out of 20 Days.