As Viúvas

I was quite disappointed with Widows. Despite a premise that sounded interesting this film reeks of negativity and despair. It is almost impossible to feel anything for the characters who are cold and emotionless. There are some big names in this film but the poorly put together plot is dull and uninspiring. It could have been an exciting film about a well planned heist. Instead the heist is rushed through at the very end. After all the build up we are given an unimpressive heist that was never well explained. All we saw was the Widows looking at cameras, obtaining guns and looking at the building plans. If your premise is a heist, at least go through the whole scoping process, that would have been interesting at least. There was no payoff with this quick and bland heist.

Also why did we need to see the emotional dramas of some of the characters? What was the point? Steve McQueen couldn't decide on what film he was making. Was he looking at the politics, racism and tough times of an area? Or was this meant to be a heist? Also the weak twist with Liam Neeson was flimsy writing and direction, it was not explored or explained well enough. A weak and unimpressive film.

It would be hard NOT to recommend this film simply based on the top of the line actors here. Seeing Viola Davis and Liam Neeson as passionate lovers might be worth the whole film. Michelle Rodriguez for once doesn't play the Michelle Rodriguez character (someone else does); you might almost mistake her for America Ferrara initially. Duval plays in a familiar register but he does it well; Farrell is workmanlike but in an unfamiliar role. Etc.

As for the story, it is wound tight for most of the film, including scenes of violence worthy of (and not always far from) Tarantino. There is also a theme - almost overdone these days - of women discovering themselves through transgression. And there are some very sexy scenes.

Strangely though, the film goes seriously off-track at the end, almost as if the screenwriters ended up in a hurry or just didn't care anymore. Except for one applause-worthy moment, the ending feels cursory and leaves some pretty obvious questions unanswered. Which is downright strange for such an otherwise tightly written film. To put it another way, for much of the film it's 8 or 9 star, then in the close it's 3 or 4.

I'm surprised honestly some of the high-powered talent here didn't demand some rewrites. As it is, you'll probably enjoy much of it (unless you can't stomach violence) and certainly if you're the kind of viewer who just lives for a few good moments between real pros, you've got them here. But it's an incomplete experience in the end.

Could have been a five star, but needed to fill some holes where things were left a bit inconclusive. Check out Erivo in "Bad Times at the El Royale" especially her singing. a. Not much background on where the money to be stolen was acquired; why small denomination cash; why the obvious wall safe behind a painting. How monies moved or disposed of. Especially after the heist how it was handled. b. Too many left hanging bits 'n pieces like disposing of a bunch of bodies. Also, a hospital should do what w/a gunshot victim - report to police who do forensics on bullet; ask questions; tie in w/recent crimes. c. Normally forensics by police should have looked into crime scenes which leave behind plenty of evidence. But maybe the writer/director wasn't interested in making that a realistic part of the story. d. Lots of contingencies like extra vehicles; cleaning up evidence at the end seemed glossed over which was disappointing. e. Not clear how the women finished their pact; how their lives were concluded.

01/24/2019 Immediate viewer immersion is guaranteed. A couple of slow spots, building the storylines foundation, but once that's done, your hooked. I really enjoyed this easy to watch movie, a pleasant change from the standard fare we're forced to watch. Bon Appetit

Standout acting, especially from Viola Davis, cannot save this movie from thematic incoherence. So many themes are touched here-heist movie, loss, race, power politics, sexism, domestic abuse, sex work, etc.-that none seem fully formed. This would be a great novel, miniseries or other long form, but loses cohesion in a standard movie length.