First Take: Widows- another masterclass from Steve McQueen

SYNOPSIS:

Set in contemporary Chicago, amidst a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands’ criminal activities, take fate into their own hands, and conspire to forge a future on their own terms.

Hunger. Shame. 12 Years a Slave. Three films helmed by one of Britain’s biggest directors currently working in the industry. And he is back with a bang. Steve McQueen is in charge of the latest big awards contender, and as ever, he makes an emotional gut punch of a film that delivers on the hype.

McQueen directs this one incredibly well, pacing around 98% of the film perfectly (aside from the 2% with difficulties- notably the final scenes) to deliver a true edge of seat experience for 2 hours 9 minutes- and his work with Gillian Flynn on the script is also a key point to mention, as it faithfully adapts the Lynda La Plante series from 1983 so well that it feels like it was born for film, as it utilises the same gritty style the source material was known for while making it more contemporary and accessible to modern audiences. The cinematography from Sean Bobbitt is first class, and Hans Zimmer once again delivers a top tier score- it’s hard to find elements of this film that are at fault.

The tipping point of this film is in the performances. The widows themselves- Viola Davis, Elizabeth Debicki and Michelle Rodriguez- are able to drive this story forward incredibly well, and with a supporting cast that includes Liam Neeson, Cynthia Erivo, Colin Farrell, Bryan Tyree Henry, Daniel Kaluuya and Robert Duvall, the film is able to truly deliver something audiences have been wanting for years: a thriller that is able to shock and surprise in more ways than one. It’s a shame that Bohemian Rhapsody is taking every screen it can get, because this is really worth seeking out.

THE VERDICT

And once again Steve McQueen has done it. A film that is simple in its execution, and brutal in its themes and emotions. The subtle details are perfect, the script has almost god-like twists, and the performances are just bang on. This will be the dark horse of this year’s awards race- especially in the very interesting run for the BAFTAs.

RATING: 5/5