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Title : Bohemian Rhapsody Bohemian Rhapsody genre : Drama, Music Bohemian Rhapsody crew : Arnon Milchan, Robert De Niro, Dexter Fletcher, Susie Figgis, Jane Rosenthal, Bryan Singer, Bryan Singer, John Ottman, John Ottman, Newton Thomas Sigel Bohemian Rhapsody release date : 4 August 19 7 6 Bohemian Rhapsody runtime : 135 Minutes Bohemian Rhapsody Crew : Arnon Milchan, Robert De Niro, Dexter Fletcher, Susie Figgis, Jane Rosenthal, Bryan Singer, Bryan Singer, John Ottman, John Ottman, Newton Thomas Sigel Bohemian Rhapsody movie cast : Rami Malek, Gwilym Lee, Ben Hardy, Joseph Mazzello, Lucy Boynton, Aidan Gillen, Allen Leech, Tom Hollander, Mike Myers, Aaron McCusker ========================ஜ۩۞۩ஜ==========================
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Singer Freddie Mercury, guitarist Brian May, drummer Roger Taylor and bass guitarist John Deacon take the music world by storm when they form the rock 'n' roll band Queen in 1970. Hit songs become instant classics. When Mercury's increasingly wild lifestyle starts to spiral out of control, Queen soon faces its greatest challenge yet – finding a way to keep the band together amid the success and excess. Bohemian Rhapsody 2018 review : If _Bohemian Rhapsody_ is so great, why was the best part of it Tom Hollander saying a single word? Don't get me wrong, Rami Malek deserves props for the role, that much is true (less perhaps than he's been getting, but still, props). But beyond that, _Bohemian Rhapsody_ is bland, choppy, arguably even offensive. There **might** be some value in one of those sing-along type deals if you can get enough Queen fans together for one, but I'll never know, because I have no interest in re-watching this.
_Final rating:★★ - Had some things that appeal to me, but a poor finished product._ If _Bohemian Rhapsody_ is so great, why was the best part of it Tom Hollander saying a single word? Don't get me wrong, Rami Malek deserves props for the role, that much is true (less perhaps than he's been getting, but still, props). But beyond that, _Bohemian Rhapsody_ is bland, choppy, arguably even offensive. There **might** be some value in one of those sing-along type deals if you can get enough Queen fans together for one, but I'll never know, because I have no interest in re-watching this.
Final rating:★★ - Had some things that appeal to me, but a poor finished product. Bohemian Rhapsody is not a biography of Freddie Mercury, nor a biopic of Queen. It's a story based on a selection of key events occurring between the formation of the band and their appearance at Live Aid. As a Queen fan I found this film utterly engrossing and enjoyable. The acting brilliantly invokes the characters in the band and the music provides a thumping rhythm to carry the story along. Queen aficionados may be affronted by the out of sequence music performances and the highly selective approach to the story telling but if you can see past that, you'll enjoy a storming film with a spine-tingling conclusion as the Live Aid performance is brilliantly recreated.
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Title : Extremely Wicked, Shockingly Evil and Vile Extremely Wicked, Shockingly Evil and Vile genre : Thriller, Crime, Drama Extremely Wicked, Shockingly Evil and Vile crew : Marco Beltrami, Zac Efron, Michael Costigan, Brandon Trost, Dennis Smith, Joe Berlinger, Joe Berlinger, Nicolas Chartier, Jonathan Deckter, Chris Stinson Extremely Wicked, Shockingly Evil and Vile release date : 21 April 19 6 4 Extremely Wicked, Shockingly Evil and Vile runtime : 111 Minutes Extremely Wicked, Shockingly Evil and Vile Crew : Marco Beltrami, Zac Efron, Michael Costigan, Brandon Trost, Dennis Smith, Joe Berlinger, Joe Berlinger, Nicolas Chartier, Jonathan Deckter, Chris Stinson Extremely Wicked, Shockingly Evil and Vile cast : Zac Efron, Lily Collins, Kaya Scodelario, John Malkovich, Jim Parsons, Angela Sarafyan, Haley Joel Osment, Grace Victoria Cox, Forba Shepherd, Grace Balbo ========================ஜ۩۞۩ஜ==========================
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A chronicle of the crimes of Ted Bundy, from the perspective of his longtime girlfriend, Elizabeth Kloepfer, who refused to believe the truth about him for years. Extremely Wicked, Shockingly Evil and Vile 2019 review : I think it's a hard line to walk, making a biopic about a genuine real-world serial killer and his wife, having said serial killer take up a pretty massive chunk of that biopic's screentime, and still not have it look as if you're trying to paint said serial killer as sympathetic - when you're a main character, when it's your story, you **are** the protagonist, and when the protagonist is a monster, that's... Yeah, that's a hard line to walk. And I think it's walked here falteringly. There's some very powerful moments, and it is absolutely an intriguing experiment in cinema, but I don't think it made all the best choices. I mean it's not a twist that Ted Bundy did it, 'cause all the world already knows... Well I mean, he's Ted Bundy. He's literally famous for one single thing, and it's being a murderer.
I can still recommend **Extremely Wicked, Shockingly Evil and Vile** to reasonable adults. Not a strong recommendation, but one nonetheless.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._ **_An interesting approach to the story, but the tone is poorly managed. Worth seeing for Efron's performance, though_**
>_I get very, very angry and indignant. I don't like being locked up for something I didn't do, and I don't like my liberty taken away, and I don't like being treated like an animal, and I don't like people walking around and ogling me like I'm some sort of weirdo, because I'm not._
- Ted Bundy; Interview in Garfield County Jail, Colorado (May 15, 1977)
> _Those of us who are, who have been so much influenced by violence in the media, in particular pornographic viol__ence, are not some kinds of inherent monsters. We are your sons and we are your husbands. And we grew up in regular families._
- Ted Bundy; Interview with James Dobson in Florida State Prison (January 23, 1989; the day before his execution)
> _He would walk me out to my car at two in the morning when my shift was over, and he'd say "Ann please lock your doors, I don't want anything bad to happen to you on the way home"._
- Ann Rule; "Ted Bundy" episode of _Born To Kill?_ (2012)
> _He ruined our lives and he's still part of our lives._
- Belva Kent, mother of victim Debra Jean Kent (February 16, 2005)
>_The reason I wanted to do this film is precisely because it avoided showing the violence. I'm much more interested in making a film about how a serial killer is living his life when he's not killing. To me, that deception and betrayal and manipulation is far scarier. Doing a movie about the fact that people can be in your midst and be killers is more interesting than just doing a movie about the catalogue of violence. Some people have criticised the lack of violence in the film as being disrespectful to the victims, saying we're glorifying a killer. I actually think the opposite, and I'm confused and surprised at the idea that someone showing the worst moment in somebody's existence - the moment where they're being tortured and killed – how showing that means you're not glorifying the killer. I think that's much more disrespectful to the victims of the violent crime. To me, you're glorifying the killer by showing the worst moment._
- Joe Berlinger; "Q&A: _Extremely Wicked_ Director Joe Berlinger Loves Zac Efron, Not Ted Bundy" (Brandon Katz); _Observer_ (May 3, 2019)
Directed by Joe Berlinger immediately after he completed work on _Conversations with a Killer: The Ted Bundy Tapes_, _Extremely Wicked, Shockingly Evil and Vile_ is a strange beast. A serial killer film which doesn't show any serial killing, it has been advertised as told from the perspective of a single character, but that character is one who's barely in the second half of the movie. Tonally, it's also unusual insofar as it seems for about 90% of its runtime to genuinely flirt with the notion that Bundy may have been the victim of a vast conspiracy. In reality, of course, given leeway by a judge out of his depth, granted privileges by a prison system unaware of how dangerous he really was, turned into an ironic folk hero by a media unused to such a charming and humorous breed of criminal, and supported by a cadre of women who judged him too good-looking to be a killer, Bundy was the first celebrity serial killer, and remains the best-known example of such (Charles Manson doesn't count as he wasn't a serial killer). And whilst the film is worth seeing for Zac Efron's performance if nothing else, it's a strangely muted affair, neither ghoulish warts-and-all carnage nor restrained psychological treatise. Telling the story of Bundy from the perspective of a woman who was oblivious to his true nature is an undeniably interesting narrative choice, and had Berlinger stuck to this format, it could have made for a fascinating film. However, the longer it goes on, the more it seems to revel in Bundy's flamboyance, and what begins as an intriguing insider's look at living with a killer soon shifts into an underwhelming courtroom drama, only returning to its original tone in the final (entirely fictional) scene.
The film begins in 1989, with Ted Bundy (Efron) on death row in Florida, still maintaining his innocence, although his execution is imminent. Visited by his former girlfriend, Liz Kendall (Lilly Collins), aka Liz Kloepfer, she demands he confess to his crimes so she can move on with her life. The film then returns to 1969, the night Bundy and Liz first met in a Seattle bar. As a single mother with a low-paying job, Liz is surprised to find this charismatic, handsome, and intelligent law student so interested in her, but interested he is, with the duo quickly falling in love, and Bundy treating both Liz and her daughter Molly extremely well. The film then jumps forward to July 1974. When two women are abducted in broad daylight from a packed Lake Sammamish State Park in Washington, the police issue a sketch of a man who resembles Bundy, saying the suspect may drive a yellow Volkswagen Beetle (which he does). The following year, when he is stopped in Utah for a minor traffic violation, the police find a "kidnap kit" in his car (ropes, handcuffs, ski mask, leather gloves, crowbar etc), and take him into custody, where he is positively identified by Carol DaRonch (Grace Victoria Cox), who had narrowly avoiding being kidnapped in November 1974. Bundy vehemently protests his innocence to Liz, claiming that DaRonch was shown his picture prior to the line-up, and although concerned, she accepts his explanations. After a bench trial, Bundy is found guilty of attempted kidnapping, and sentenced to one to 15 years. When he is subsequently charged with murder in Colorado, although she still believes him to be innocent, Liz starts to drink heavily to help her deal with the stress. However, as police departments across California, Oregon, Washington, Idaho, Utah, Colorado, and Florida start to connect Bundy to a string of recent murders, it becomes harder and harder for Liz to shake the feeling that there's more to her boyfriend than she could ever have imagined.
Very loosely based on Liz Kloepfer's memoir, _The Phantom Prince: My Life With Ted Bundy_ (1981), _Extremely Wicked_ is written by Michael Werwie, and had been on The Black List for several years before it came to the attention of Berlinger. The hook for the original script was that the audience is unaware the character they're watching is in fact Ted Bundy; the film was written as a supposedly fictional story of a young couple whose life is shattered when he is accused of multiple murders, with his real identity only coming as a final act twist. As Berlinger was completing _The Ted Bundy Tapes_, the script was offered to him, and although he found the twist distasteful, he loved the idea of looking at the Bundy story through the eyes of someone who thought him to be innocent. Known as a documentarian for films such as _Paradise Lost: The Child Murders at Robin Hood Hills_ (1996), _Metallica: Some Kind of Monster_ (2004), and _Whitey: United States of America v. James J. Bulger_ (2014), _Extremely Wicked_ is only Berlinger's second scripted film, after the fascinating misfire that was _Book of Shadows: Blair Witch 2_ (2000).
One of the biggest appeals of the movie, of course, is the unexpected casting of Zac Efron as Bundy (Efron also serves as executive producer). Known for his early roles in Disney films such as Kenny Ortega's original _High School Musical_ trilogy, and later comedies such as Nicholas Stoller's _Neighbors_ (2014), Dan Mazer's _Dirty Grandpa_ (2016), and Seth Gordon's _Baywatch_ (2017), aside from Lee Daniels's batshit insane _The Paperboy_ (2012) and Peter Landesman's ensemble piece _Parkland_ (2013), Efron has never really had a chance to show any dramatic chaps. And it has to be said, he's excellent here. Although he doesn't look like Bundy _per se_ (Bundy was good looking, he wasn't _that_ good looking), Efron has the mannerisms down to an absolute tee. If you watch the film after the docu-series, you'll really pick up on the depth of the performance, especially in the scene where the gloating Sheriff of Leon County, Ken Katsaris (Kevin McClatchy), indicts Bundy in front of the assembled media - Efron's every movement and gesture, every glance at the camera, the way he smiles, the way he stands, the tone of his voice, everything is perfect. Of course, Bundy's good looks and charisma were his most formidable weapons, and as a very attractive, very clean-cut, and very charming white man, Efron is able to tap into the fact that one of the most important aspects of the Bundy case was his white privilege (something which has been discussed by everyone from Robert D. Keppel to Ann Rule to Stephen G. Michaud). Bundy proved that evil could fester under an extremely attractive façade, and this gives Efron room to manoeuvre, playing every scene in such a way that the subtext is always apparent even though he never ostensibly lets Bundy's mask slip. Indeed, it's the absence of any obvious monstrousness in the performance which is so unnerving. As Liz, Lily Collins makes less of an impact, but that's because she has less to work with (more on this in a moment). Having said that, however, where Collins is especially good is in conveying how the seemingly never-ending series of accusations are having a cumulative effect; every time we see her, she looks wearier than before.
The film also features a fine supporting cast, all delivering strong, if restrained, performances; Kaya Scodelario as Carole Ann Boone (an old friend of Bundy's who ultimately became his wife and mother to his child), Angela Sarafyan as Joanna (Liz's (fictional) best friend), Haley Joel Osment as Jerry Thompson (Liz's (fictional) co-worker), James Hetfield as Officer Bob Hayward (who arrested Bundy in Utah in 1975), Jeffrey Donovan as John O'Connell (Bundy's attorney in the DaRonch kidnapping case in Utah), Dylan Baker as David Yocom (prosecutor in the DaRonch kidnapping case), Terry Kinney as Det. Mike Fisher (one of the lead investigators working the Colorado murders), and Jim Parsons as Larry Simpson (prosecutor in the Florida double murder trial). The only false note from an acting perspective is John Malkovich, who's spectacularly miscast as Edward Cowart, the presiding judge at Bundy's double-murder trial. Apart from the fact that Malkovich looks nothing like Cowart, he chews every bit of scenery anywhere near him, overacting to a painful degree. He's not quite as bad as he is in _Billions_, where he has the worst Russian accent I've ever heard from an actor not named Gary Oldman, but he's not far off (and I say that as a Malkovich fan).
One of the film's most notable components is that, apart from one brief scene near the end, there is no depiction of violence. Ostensibly this is Liz's story, and although Berlinger loses sense of that in the second half, he does adhere to the principle of not just keeping the violence off-screen, but of never showing us anything leading up to any of the murders, or any of the immediate aftermath. The idea, obviously enough, is to present Bundy not with the 20-20 hindsight of history, but with the same degree of ambiguity with which Liz would have viewed him. Indeed, if by some miracle someone stumbled on the film who knew nothing about Bundy, I'd imagine they would view it as a mystery thriller about a woman whose boyfriend may or may not be a killer. It's an interesting way into the story and seems a genuine attempt to do something more than simply reproduce the salacious details of the crimes, dwelling not on Bundy's sadism and savagery, but on his manipulations of the people in his life. In this sense, I'm sure it will disappoint those hoping for gory excess, scenes of decapitation, and copious necrophilia. Prior to the end, the closest the film really gets to the details of the crimes is a sequence of Bundy and Liz in relationship bliss, with 16mm home movie-style footage playing on-screen, over which we hear news reports about the murders.
Of course, if you're making a film about a serial killer which doesn't feature much in the way of serial killing, you're going to need to fill it with something, and in this sense, Berlinger focuses, at least in the first half, on how a killer can lie and manipulate, coming across as completely normal to all who know him (it's not mentioned in the film, but it is covered in the docu-series that The Church of the Latter-day Saints of Jesus Christ, which Bundy had joined shortly before his 1975 arrest, were so convinced of his innocence, they sent representatives to support him in court and publicly defended his character). With this in mind, the first half isn't really a true crime story so much as it is an examination of the lies a person capable of evil must tell to hide that capability. Berlinger himself has said that the film is about the mechanics of how a person can be "_seduced by someone capable of evil_", and it was his intention that the audience actually like Bundy, as he wanted them to feel disgust with themselves – just like Liz, Berlinger wanted them to be seduced by evil, and feel very uncomfortable with themselves for allowing it to happen.
However, as admirable as this approach is, the film has a lot of problems, some of which arise directly because of the unique entry point into the story. For one thing, because the film depicts Bundy not as we now know him but as his contemporaries saw him, it means we only see the performative side, never the monstrous underbelly. Sure, this means that the film avoids exploitation, but in doing so, it could be accused of sanitisation (to be fair, this is something of a damned if you do, damned if you don't scenario - show the murders and you're exploiting real-life suffering, don't show them and you're hiding the true nature of his crimes). And granted, portraying him as a possibly innocent man is part of the attempt to explain how Liz and the myriad of other women who supported him were essentially partaking in a form of mass self-delusion. However, all the good intentions in the world don't change the fact that the film's Bundy is a lovable rogue who bites his thumb at the system, not a murderer, a man who raped and butchered a 12-year-old child, and who decapitated multiple women and had sex with their corpses.
I understand that Berlinger wants to dramatise the reason that Liz and others were duped, depicting how she could have been blinded by devotion to a man that she thought (correctly, as it turned out) was too good to be true. But the problem is that she herself is never characterised enough for this to work. Indeed, one gets the impression that Berlinger doesn't find her especially interesting on her own – everything we learn about her is predicated on her relationship with Bundy; there's nothing about her life prior to meeting him, and what we learn about her life after he was convicted is primarily fictional. This is true to an even greater degree for Carole Ann Boone, who is introduced out of nowhere as an "old friend" of Bundy's, soon becoming his lover and supporter, and conceiving a child whilst he was on death row. Again, we learn nothing beyond her relevance to his story. Additionally, the focus shift halfway through as the film transitions from Liz as subjective focaliser to a more objectively focalised courtroom drama makes very little tonal sense. It's almost as if Berlinger loses interest in Liz when the sensationalist trial begins and Bundy really comes into his own. This transition reduces Liz to a cycle of watching the trial, crying, doubting his guilt, drinking, watching the trial, crying etc, as she's effectively stripped of what little agency she had in the first half.
Another problem created by telling the story from Liz's perspective is that we learn nothing new about Bundy himself; there's nothing about his childhood, for example, or how he got away with the murders for so long, whether he really loved Liz, or if he genuinely lacked the ability to feel empathy, as Dorothy Otnow Lewis, Professor of Psychiatry at the New York University School of Medicine, would claim in 1988 (something not covered in the film). Along the same lines, we learn nothing whatsoever about any of the victims. This was also a problem in the docu-series, but it's far more pronounced here, and because of this, the decision to put the names of Bundy's known victims on screen at the end of film is unearned, crass, and meaningless, coming as it does at the end of a film in which an A-list movie star has just portrayed their killer, whilst most of them are never even mentioned.
The film also makes some strange changes to documented fact, many of which seem designed to make Bundy more sympathetic. For example, there's no mention of the fact that he tried multiple times to pressure Liz into rough sex, particularly choking. The film also has Liz state that Bundy never raised his voice to her or laid a hand on her, ignoring an incident when he pushed her into a lake during an argument. Another scene sees Bundy forcibly restrained in his cell whilst a dentist takes impressions of his teeth. In reality, the impressions were taken in a dentist chair, and Bundy quite happily allowed the dentist to work, sitting down in the chair without any complaint. The film also shows him continuing to try to contact Liz throughout his incarceration, long after his marriage to Boone. In reality, however, he lost contact with Liz entirely in the early 80s, and there's no evidence he tried to find her, nor did she need to hear him confess in order to "move on". Ironically enough, if the film had stayed focused on Liz, these changes would have made more sense, as the entire film could be argued to be subjective. But because of the focal shift, one cannot make this argument, and such changes become more troubling.
_Extremely Wicked, Shockingly Evil and Vile_ is by no means a bad film. But it could have been so much better. The shift from subjective focalisation to court-room drama makes very little sense, and fundamentally undermines what Berlinger seems to have been trying to do. Much like the media which he is so keen to criticise (both here and in _The Ted Bundy Tapes_), and despite numerous statements to the contrary, he seems as enamoured of Bundy the showman as everyone else was and so many still are. Adopting a fascinating approach, the film initially looks at how evil can hide in plain view, creeping into our lives under the guise of normalcy, hiding monstrousness behind affection. Unfortunately, Berlinger allows this theme to recede into the background as he gives the narrative over to Bundy. And yet, he never manages to say anything new, raising the question of why anything needed to be said at all. If this was supposed to be Liz's story, Berlinger takes his eye off the ball badly, allowing the grandstanding, manipulative Bundy to hog the spotlight. And although the film doesn't sympathise with him, and although the decision not to show any of the murders is commendable, the fact is that like he was with the media of the time, like he has been with so many writers and in so many documentaries and scripted films over the last few decades, once again, Ted Bundy is very much the star of his own show.
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A police shootout leaves four thieves dead during an explosive armed robbery attempt in Chicago. Their widows have nothing in common except a debt left behind by their spouses' criminal activities. Hoping to forge a future on their own terms, they join forces to pull off a heist. Widows 2018 review : Director Steve McQueen (12 Years a Slave) and Gone Girl author Gillian Flynn co-wrote the screenplay for his crazy-intense looking crime thriller starring queen of all queens, Viola Davis. Those three names are honestly all it would take to lure us to a theater, but it actually gets better: the film, based on Lynda La Plante’s novel of the same name, follows four women whose duplicitous husbands’ deaths lead them down a dangerous path. Director Steve McQueen (12 Years a Slave) and Gone Girl author Gillian Flynn co-wrote the screenplay for his crazy-intense looking crime thriller starring queen of all queens, Viola Davis. Those three names are honestly all it would take to lure us to a theater, but it actually gets better: the film, based on Lynda La Plante’s novel of the same name, follows four women whose duplicitous husbands’ deaths lead them down a dangerous path.
Widows co-stars everyone, basically, including Daniel Kaluuya, Michelle Rodriguez, Jacki Weaver, Colin Farrell, and Liam Neeson. Think: Good Girls meets Ocean’s 11, but the comedic elements are replaced by Davis staring soulfully into the (incredibly bleak) distance. This film contains two movies, and I enjoyed one of them:
Widows is the story of a trio of...well, widows, who hatch a scheme to pull off a heist. The reason why the widows choose to pull off this heist in the first place is a threat by gangster-turned-political-hopeful Jamal Manning (played by Brian Tyree Henry). It was his money that the deceased husbands of the women were trying to steal before dying in an explosion set off by a hail of police bullets. The money burned up in the flames, and he wants to be repaid. Veronica Rawlings (played by Viola Davis) comes into possession of the plans for a future robbery that her husband Harry (played by Liam Neeson) was planning, and with no other options she and the other women decide to use the plans to commit the robbery themselves in order to pay off the debt (with plenty of money left over).
The cast does a commendable job, with particularly good performances put forth by Viola Davis and Elizabeth Debicki as two of the titular widows, Cynthia Erivo as the babysitter for a third widow (played by Michelle Rodriguez) who gets brought into the scheme, and Get Out's Daniel Kaluuya as a cold-blooded henchman who doesn't need to walk around screaming and shouting in order to be terrifying. Also worth a mention is Robert Duvall, who may not be in the movie a whole lot but is memorable nonetheless. The film is shot well by cinematographer Sean Bobbitt, with one standout scene being the short drive taken by Colin Farrell's Chicago Machine political candidate from an area of blight to the nice, quiet street that he lives on at the edge of the ward where he hopes to be elected as alderman over his opponent (Manning). The camera watches as rundown inner-city buildings give way to nice houses that wouldn't seem out of place in a tidy little suburb.
For a while it is interesting to watch as the women, who were not involved in their respective husbands' lives of crime, try to ready themselves for the heist. Midway through the film, however, there's a surprise reveal. I said in the title of this review that this film contained two movies, one that I liked I liked. The movie that I liked ended with this "twist", and this is where the movie that I didn't like began. Not only is the twist totally unnecessary, but the film just seems to go downhill from there. The women, whose robbing skills seemed understandably shoddy up to this point, suddenly seem to work together like a well-oiled machine. There are more twists thrown into the mix (such as the identity of the person they will be stealing from). The fate of the Rawlings' son, hinted at earlier in the movie. is revealed in a poorly executed scene. The climax of the film feels like a second-rate action flick, and the playing-out of the big twist revealed earlier in the film feels contrived. Then the film ends in a, "Really, that's how they're going to end this?" way.
I don't hate this film (faint praise, I know), but I feel that there was so much wasted opportunity. If only they had kept making the movie from the first half of this film I could have given it a higher rating, but as it stands I give it a 6 out of 10. Arguably longer than it had to be, particualrly when a lot of side-stories had little context and zero payoff. But there is not a **single** member of this cast who disappoints. Obviously heist movies are not a new thing, but there has never been a heist movie like _Widows_ before.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._ **_Looks amazing, but tries to cover too many issues, and the plot is laughable_**
> **Reggie Ugwu**: _What fascinates about seeing women in historically masculine roles? Do you see something qualitatively different about the way women and men conduct themselves?_ > > **Viola Davis**: _All we want from women is for them to be pretty, and for them to be kind. And it's those shallow qualities associated with womanhood that we see on screen. So we always feel less than. We always feel like the predator's prey. We always feel that boot of male influence and power. That's what #MeToo and Time__'s Up is all about. This movie is a realistic journey into women gaining ownership of their lives. And not at the expense of who they are. The feminine energy and the vulnerability are still there. But I think it's a fantasy in every woman to do something bold and brash and not nice, to bust out of themselves and social norms to get at some level of authenticity. I think that's what attracts people. I know that's what attracts me._ > > **Ugwu**: _The movie is coming out at a time when, from entertainment to politics, women are indeed being bold - demanding change and giving voice to their rage._ > > **Steve McQueen**: _I'm grateful. But it's hugely bittersweet. I based this film on a TV show I saw 35 years ago and nothing's changed. Absolutely nothing's changed. But the fact that, as an object, this film can be useful - I'm very grateful for that._ > > **Davis**: _I always say the three famous words: And now what? It's got to keep going. It can't just be "This is a time for female rage, so this is a time for female-centric movies and maybe some black artists." It should've been time years ago. This is what it always should be._ > > **McQueen**: _What's happening with #MeToo and Time's Up is amazing - these are huge, giant steps. But I just feel sometimes, as a black filmmaker, that it's still going around in circles. We've had this debate within the black film community about being represented as filmmakers and actors and stories. We never seem to break through. It goes up and then down. With #MeToo and Time's Up, it just goes on and on and on. And I think it's because there are people in situations of influence who are actually behind it and are doing a genius job. I wish those people would get on board with a black movement. Too much of this stuff is, "Oh, I'm very happy for the black actors or actresses who are doing well." And it's like,_ White man, you're part of this_! You should be saying, "Hey, I'm with them. I'm out there." That civil rights method: WE, not them. I don't know what you think about that, Viola._ > > **Davis**: _If you're a black actor - especially actress - who gets to any level of power and you say, "I'm going to produce my own film and I'm going to be the lead in the film", you need a No. 2 who's going to get that film international distribution. That means you need a big white star._
- "Steve McQueen and Viola Davis on Hollywood, Race and Power" (Reggie Ugwu); _The New York Times_ (November 15, 2018)
Arguably the most ambitious heist movie since _Heat_ (1995), just as did Michael Mann's genre (re)defining epic, _Widows_ has aspirations far beyond the limits of its generic template. Written by Steve McQueen and Gillian Flynn, and directed by McQueen, the film is based on the 12-episode British TV series of the same name written by Lynda La Plante, which aired on ITV in 1983 and 1985 (a six-episode sequel series, _She's Out_, aired in 1995, and the original series was unsuccessfully remade as a four-episode miniseries on ABC in 2002). McQueen's first two films, _Hunger_ and _Shame_, were two of the finest films of 2008 and 2011, respectively, but I'm pretty sure I'm the only person on the planet who didn't like his third, the recipient of the 2014 Academy Award for Best Picture – _12 Years a Slave_. Reading around some of the professional reviews of _Widows_, I seem to again find myself very much in the minority regarding a McQueen film; it has been very well received (91% approval on Rotten Tomatoes at time of writing), but I was left distinctly underwhelmed. Operating firmly within a genre framework, the film essentially tries to filter the basic heist template through a feminist pseudo-#MeToo prism, taking in such side-issues as political corruption, police homicide, Black Lives Matter, institutional racism, American gun culture, hegemonic masculinity, and the importance of wealth. McQueen approaches genre much like Michael Mann, as opposed to, say, Quentin Tarantino, using the generic template as a launch-pad to examine various socio-political issues, as opposed to using it as a destination in and of itself. The problem, however, is that he tries to pack far too much into too short a space of time. Whilst I can certainly appreciate and celebrate how progressive the narrative is, placing a black woman at the centre of a genre traditionally dominated by white men, the film still needs to work as a genre piece, or no amount of moralising, didacticism, polemics, or political grandstanding can save it. And this is where _Widows_ fails most egregiously – the core genre elements are as far-fetched and ridiculous as anything you're likely to see out of mainstream Hollywood, which serves to undermine and dilute the serious topicality for which McQueen is obviously striving.
Set in Chicago, the film's protagonist is Veronica Rawlings (Viola Davis), an officer with the Chicago Teachers Union, married to career criminal Harry (Liam Neeson). Although she is not involved in his business, she knows what he does, and is happy to look the other way, allowing the couple to live a life of relative luxury. As the film begins, Harry and his crew, Carlos Perelli (Manuel Garcia-Rulfo), Florek Gunner (Jon Bernthal), and Jimmy Nunn (Coburn Gross), are fleeing from the police after a heist gone bad, a chase which ends in a shoot-out during which their van explodes, killing all four. Meanwhile, Jamal Manning (Bryan Tyree Henry), a local crime boss, has decided to run for alderman of the 18th Ward against Jack Mulligan (Colin Farrell, with the strangest Chicagoan accent you've ever heard), the son of retiring incumbent alderman Tom Mulligan (Robert Duvall, chewing scenery from scenes in which he doesn't even appear). Although the Mulligan family has controlled the 18th for over 60 years, due to a recent redrawing of the city's constitutional borders, Jack finds himself having to campaign in the poor black neighbourhoods which his father never had to worry about, thus giving Jamal a shot in the election. This connects up to the main plot insofar as Harry's fatal last job was stealing $2 million from Manning and his psychotic enforcer brother Jatemme (an ice-cold Daniel Kaluuya), cash which burnt up in the explosion. A few days after Harry's funeral, Jamal gives Veronica one month to liquidate her assets so as to pay him back. However, she discovers Harry's notebook, which contains a detailed plan for a heist worth $5 million. Deciding to use the notebook to carry out the heist, she recruits Linda Perelli (Michelle Rodriguez), whose store has been repossessed to cover Carlos's gambling debts, and Alice Gunner (Elizabeth Debicki, in the film's standout performance), whose odious mother, Agnieska (Jacki Weaver) has pushed her into high-end prostitution. She also approaches Amanda Nunn (a criminally underused Carrie Coon). However, with a four-month-old baby to look after, and reasonably secure finances, Amanda is reluctant to get involved. Still needing a fourth person, Linda recruits her babysitter, Belle (Cynthia Erivo), about which Veronica isn't thrilled, but with no other options, and the night of the heist rapidly approaching, she acquiesces.
As this plot outline should make very clear, _Widows_ is pure pulp, albeit pulp with something on its mind. McQueen's first genre film, he approaches it with the same seriousness with which he approached political protest, sexual addiction, and slavery. Obviously not especially interested in making what he sees as a generic crime thriller about bereft women taking matters into their own hands (which is about as political as the original series got), he and Flynn use the material as a vehicle for a racially-tinted critique of both powerful men (who are mainly, but not exclusively, white) and the corrupt systems that enable them. By creating a canvas depicting life at various social strata in Chicago – from the inherited white privilege of Jack Mulligan to the materialistic social trappings so important to Veronica, from the poor black neighbourhoods of the Manning family to the "_everything is a transaction_" philosophy of high-powered real-estate – the film attempts to address a plethora of racial, political, and gender issues. With this kind of Richard Price-style cross-section of an urban _milieu_, _Widows_ reminded me a little of _The Wire_. However, whereas David Simon, Ed Burns, _et al_ had 60 episodes to depict Baltimorean drug dealers, dock workers, politicians, educators, and journalists, McQueen and Flynn have just over two hours, and the results are concomitantly streamlined.
And herein lies one of the film's biggest problems. Rather than trying to deal with one or two core issues with something resembling thoroughness, it instead tries to deal with upwards of about seven, and ends up saying little of relevance about any. There's gender, economics, politics, racism, police corruption, prostitution, gun culture, materialism, etc. It often feels as if McQueen and Flynn were simply throwing ideas against a wall to see what stuck, especially when you consider just how little attention some of these themes receive, making you wonder why they're there at all. Gun culture, for example, is really only addressed when Alice is assigned the task of buying the team's weapons. Asking where she is supposed to go to get guns, she is told simply and unironically, "_this is America_", a wink-and-a-nod point which relies almost entirely on the audience's left-leaning political affiliations. Another example is that of racially-motivated police homicide, a theme which feels especially shoehorned in. Several years prior to the film, Veronica and Harry’s teenage son, Marcus (Josiah Sheffie), was shot and killed by a white police officer at a routine traffic stop. And that's about it really. Marcus does factor into the film's big twist (kind of), but the racial overtones of his killing are never brought up again, and it remains unclear what McQueen is trying to say with this underdeveloped subplot. And ultimately, with so much thematic material competing for attention, much of it disconnected from the containing narrative, it's hard to focus.
Which is not to say, of course, that none of the film's themes are foregrounded. Gender, for example, is built into the plot, especially in relation to notions of subverting the patriarchal status quo. As they prepare the heist, Veronica tells the team that their greatest strength is the element of surprise, because "_no one thinks we have the balls to pull this off_". Later, she reminds them they have "_to look and move like a team of men_". Whilst on the heist itself, they have to disguise their voices so no one realises they are women. Similarly front-and-centre is the theme of race relations, something introduced in the opening frames – an above-the-bed shot of Harry and Veronica engaged in some _very_ heavy petting. Whilst promoting the film, Viola Davis has spoken a lot about how unusual it is to open a film with an interracial pseudo-sex scene, and she's right about that; even in a world which celebrates something like Jeff Nichols's _Loving_ (2016), interracial couples are still relatively rare on-screen, especially sexually active older couples (speaking at a Q&A screening of the film in LA, Davis said,
> _I don't care how much people say they're committed to inclusivity – they're not committed to that; the opening shot in this movie where you have a dark-skinned woman with a big nose and wide lips and all of that, and her natural hair, kissing – romantically kissing a white man onscreen._
Race is also dealt with via several references to Albert Woodfox, one of the so-called Angola Three, and a man who spent 43 years in solitary confinement in Louisiana State Penitentiary, from April 1972 until June 2015. Woodfox is actually quoted on a radio report to which Jatemme is listening, discussing what it feels like to realise that "_nothing you do is gonna change your situation_." Of course, this is _exactly_ what the widows are trying to do (and, in a far less noble, though arguably far more legal sense, so too is Jamal).
Another excellent shot that carries huge thematic importance, this time in relation to city-wide macroeconomics, can be seen when Jack and his assistant, Siobhan (Molly Kunz), travel from a poor black neighbourhood to the affluent white suburb in which his campaign headquarters is situated. Filmed in one of McQueen's patented single-takes, what's especially interesting here is that after Farrell and Kunz get into the car, we can hear them, but we can't see them – regular McQueen cinematographer Sean Bobbitt (_The Place Beyond the Pines_; _Kill the Messenger_; _Stronger_) leaves his camera fixed on the bonnet, with only a portion of the windshield and one of the side-mirrors visible. Meanwhile, we see the city rapidly change in real-time in the background, taking only a couple of minutes to go from skid row to millionaire's row. McQueen's unusual camera placement forces the audience to acknowledge just how thin the line is, geographically speaking, between rich and poor (recalling that great quote from Bubbles (Andre Royo) in the first season of _The Wire_; "thin line between heaven an' here"). At the same time, of course, the ideological divide is massive.
Of vital importance to this particular theme (the vast differences between the haves and have-nots) are the Mulligans. Robert Duvall plays Tom Mulligan as a closet racist (and sometimes he doesn't bother with the closet); an old-school politician who believes that whoever can grease the most palms and line the most pockets should become the most powerful. An angry vestige of a dying era, Tom resents the fact that a Mulligan must slum it to win black votes. Of course, Jack is no angel (he starts a program to get minority women back to work by making it easier for them to open businesses, from which he then takes a cut), but he is smart enough to recognise that the era of men like his father is over. I'm not sure if Duvall's over-the-top performance is the best thing about the film, or one of the worst; in one scene, during an intense argument with Jack, Tom _quite literally_ starts frothing at the mouth, and no one comments on it. He's just that type of character, and the film gleefully embraces his particular brand of crazy, often pushing scenes between him and Jack a beat or two beyond the point where they reach what should be their natural conclusion. For example, when Tom scoffs at the abstract painting on Jack's wall, and mocks his son for spending $50,000 on "_wallpaper_," Jack retorts, "_it's art_", to which Tom growls, "_wallpaper_." This is where a normal film would end the exchange, but _Widows_ allows each man another salvo; "_Art_!" says a frustrated Jack. "_Wall. Paper_," replies Tom, steadfastly refusing to back down. It's wonderfully uncomfortable, and you get the sense this is not the first such allegorical exchange between these two, with the scene speaking to the relationship between money and power at the centre of the Mulligan subplot.
A less signposted, but equally as important theme is the corruption, dishonesty, and mercenary-like behaviour endemic to all levels of society. The most obvious examples of this are probably the political corruption of the Mulligans and the street thuggery of the Manning brothers, but there are many more examples throughout the film. For example, the Chicago PD doesn't have much of a presence, with the main representative, Det. Fuller (Michael Harney) appearing in only two scenes as your basic corrupt movie-cop, Elsewhere, Linda is entrapped by the corruption of the loan sharks who buy her husband's gambling debt, Alice by her mother, who forces her into prostitution, and by David (Lukas Haas), the real-estate agent who pays for her services, and even Veronica, by Harry's chosen career path and the dangers to which it has exposed her. Really, the only man in the film who isn't corrupt in some way is Bash (Garret Dillahunt), Harry's loyal-to-a-fault working-stiff chauffeur, but even he (like Veronica and the rest of the widows) lives off the proceeds of crime. The system may be built on a foundation of toxic patriarchy (a very different thing to toxic masculinity), but the women are no angels in this _milieu_; no one is immune to the corrupting influence of socio-political norms. This is a world in which David's philosophy ("_everything is a transaction_") is universally subscribed to; for better or worse, people are either bought outright or sell off pieces of themselves.
For me though, the whole thing was underwhelming and predictable, with a twist that's as ridiculous as they come, and a narrative that relies far too much on coincidence and movie-logic. The widows need to disguise their voices on the job? Good thing that Belle's daughter has a gizmo that does exactly that! A highly successful modern-day thief who writes everything down longhand? A team of people (irrespective of gender and race) who become experts in something as complex as pulling off a major heist in a matter of weeks (what is this, _Battlefield Earth_)? For all its real-world social and political concerns, I never once bought into the central premise, that these four women could actually pull this off, and that undermines everything else. Much as David Simon has always argued _The Wire_ was about the quintessential American City, McQueen is here attempting to tell a story much larger than the sum of its parts. However, unlike the Baltimore of _The Wire_ (or the LA of _Heat_), McQueen's Chicago doesn't feel lived in (as opposed to say, Michael Mann's depiction of the same city in _Thief_); it feels like someone's idea of a city rather than an actual depiction of that city.
Just because a film addresses certain themes doesn't mean it earns a free pass ("_look, Hollywood cares about poor people; we better not criticise the ridiculous plot_"), and from a narrative standpoint, _Widows_ is pretty ludicrous. With the plot often feeling contorted to support the themes, rather than the themes arising from the plot, McQueen's didactic and polemic concerns seem to have overridden his abilities as a storyteller. More a vehicle for protestation than anything else, that it tries to cover so many topics makes the whole experience emotionless, as if the filmmakers were dispassionately working off a checklist of issues on which to touch, rather than allowing the plot to organically lead into those issues. As I mentioned above, for this kind of film to work, the central heist narrative must be able to stand on its own, and this one most definitely cannot, which works to flatten and neuter the very real criticisms that the film is so concerned with enunciating. The socio-political commentary, for the most part, is never really integrated into the narrative – so you end up with a film that feels like its preaching at you rather than talking to you, light on emotion and dramatic verisimilitude, but top-heavy with moral superiority. If it had embraced its genre a bit more, and eased back on the homiletics, it would have worked much better, not just as a genre exercise, but, perhaps more importantly, as political commentary. As it is, it's a very good-looking but unoriginal, and at times, outright dumb movie, that seems to always assume its intellectual ascendency to the audience.
