Creates a dour looking, if entertaining tone, yet is non-entrancing due to lacking a rhythm. Not only the structure but its central heist is lost in a vast array of side characters and threads, with overplotting. Despite an impressive ensemble cast, it still lacks the cohesion in its parallel storylines of films like 1973's The Friends of Eddie Coyle, and would've better worked narrowly focused or as a mini-series.
Proof that successfully pulling off a genre film is a skill not to be sniffed at. Not enough thrills for the multiplex crowd, and not enough directorial flair for McQueen fans, this nonetheless contains multiple great performances - highlighting once again where McQueen's real skill lies - and a satisfying, twisty, soapy plot, albeit one where motivations often appear muddled beneath the story beats.
Steve McQueen's latest is a crime opera with "Wire"-esque ambitions - tracing the impact of Chicago politics from the richest neighborhoods to the local salon - yet the execution feels curiously inert. This is a film called "Widows" that doesn't have a single expression of grief that feels earned or authentic; and even the action beats and long takes feel overly slick and rehearsed. But more of Cynthia Erivo, please.
Painful to watch. I'm guessing he didn't have final cut. That scene of just the outside of the car with Colin Farrell inside was totally unnecessary. Some idiot producer said, "We need to communicate the fact that Mulligan is a slightly reluctant politician." Which becomes obvious in later scenes. Have some faith in your audience's intelligence.
Excellent performances and direction, but thematically inconclusive, and ultimately unsatisfying. Could have been stronger if it had leaned more into a heist formula, which would have been more exciting, and bolstered the tonally disjointed ending of bad-men-getting-comeuppance.
In which McQueen puts his chilly command of rattling an audience into the service of genre material. Stylistically, it's a smooth transition. The first 45 minutes are downright masterful, with parts that fit so tightly you couldn't slip a piece of paper between them. Once the heist takes shape, though, the tale becomes astoundingly sloppy—proof that technique can only do so much if you desperately need a rewrite.
i loved this. so mad i didnt think this was worth seeing in theaters. that opening scene. viola and elizabeth. daniel kaluuya! bryan tyree henry killing it in this and beale street. one of the only realistic heist movies ive ever seen. and its terrifying. this movie has hands down the best ensemble cast ive seen in years.
really wanted to like this one more; stacked cast, cool premise, but jeez was it just a slog to get through. some parts were enjoyable and tense, but the writing seemed.. lacklaster? the acting, as well, just felt almost cringey and flat in a few scenes. also jumped around way too much. finally; olivia the dog with the most irritating bark in the world had way too much screentime. i'm all for dogs in movies but damn