Steve McQueen’s Widows

Ever heard the expression ‘trip over your own ambitions’ ? That applies in full force to Steve McQueen’s Widows, a film that doesn’t have half the time needed to nurture, juggle or resolve the nebula of plots, twists, sub plots and sub-twists it tries to throw out there. That’s not to say that it isn’t a valiant effort; this is a film that tries a lot of things, is very innovative and engages often, but ultimately it’s just not enough and feels more like a running start without the follow through of flight. In the opener we see a heist that goes about as incredibly wrong as it could: cops hunt down a crew of high stakes robbers led by career criminal Harry Rawlins (Liam Neeson), gunning them all down. Viola Davis is his wife Veronica, left to pick up the pieces when thuggish wannabe politician Jamal Manning (Brian Tyree James) and his sociopathic brother Jatemme (Daniel Kaluuya is a beast) come looking for money he owed them before he died. That’s when she gets the idea to carry out the plans for his would-be next heist, joined by the other widowed women of his crew. There’s also an overarching subplot involving corrupt electoral candidate Tom Mulligan (Colin Farrell), his racist, old-money prick of a father (Robert Duvall with fire n’ brimstone mode activated) and others in both low income and Ivy League Chicago, which aren’t as far apart as you think, as McQueen shows us in an all too obvious extended shot of a car ride. There are aspects I loved; the opening heist, shot mostly POV from the back of the van, is a whiz banger, taut and packed with adrenaline. The performances are excellent all round, from Michelle Rodriguez and Elizabeth Debicki as other wives of the fallen robbers to memorable supporting turns from Jacki Weaver, Garrett Dillahunt, Jon Bernthal, Carrie Coon, Kevin J. O’Connor, a quietly scene stealing Lukas Haas, the most excellent Cynthia Erivo and many more. The narrative encapsulates the heists themselves with ongoing conflict including racism, urban politics, interracial romance, low income versus filthy rich, nepotism and everything in between, and this ambition to explore many avenues in one go is where the film fatally falters. The widow’s heist, when we finally come around to it, is brazen and impactful but blares by too quick for the payoff leading up to it. Hans Zimmer’s score echoes stuff like Heat but seems to only really show up now and again instead of being a prominent presence. At two hours and nine minutes, McQueen just didn’t leave himself enough time to properly cultivate relationships, build enough tension, explain his narrative fluidly or develop the characters that he clearly loves. It’s unfortunate because the guy is one hell of a director, both with his actors and his camera, he knows how to tell a story and make it feel fresh, unpredictable and just spontaneously offbeat enough to seem like real life as opposed to a story that obviously works within the parameters of script. He’s a thoroughbred, but he didn’t leave enough track to run on with this one, and I almost feel like he would have been better off going the episodic route here, as it would have had way more space to breathe and audiences far more time to ruminate on the events. Worth watching to see everything cascade by like a parade in fast forward, but don’t expect to be satisfied with wrap ups or conclusions.

-Nate Hill

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