The overarching nature of the female dominance that resonates from Widows is so smooth it becomes more than refreshing

Undeniably tricky, clever and powerful, Widows is an incredible piece of thriller cinema, proving once again, that when genre film making is done properly, anything can become a well received. Without letting up any of its morals, or compromising any of its quality, Widows has managed that with apparent ease.

Yet, not only is Widows one of the most relentless thrillers of 2018, it’s also one of the most intricate as every scene, every sentence and every shocking twist is delicately poised to give off a colourful sense of intensity. The writing, the acting and the direction has such intent and purpose, Widows becomes supremely powerful from every corner of its existence.

After a heist goes wrong, four experienced thieves are killed by a major garage explosion. Left behind are four widows, aimless and penniless as the lives they knew are ripped from them, quickly and painfully. With debts to pay, and people to recompense, Veronica (Viola Davis) is hit hardest by the loss of her husband. Desperate to save her spiralling life, Veronica enlists the help of the three other widows, putting in place a plan to carry out the next heist their husbands had been working towards, from the notes they left behind.


Widows is impossibly huge. It’s stature is up there with the best cinema has ever offered. An impeccable cast, even in smaller roles, picking from the Hollywood elite to the best newcomers, whilst boasting a former Best Picture director in Steve McQueen and a scriptwriter of incredible populist fame in Gillian Flynn. It’s almost as if a dream team has been assembled to create an ultimate work of cinema. Often these amalgamations of the best fail to supply the power it should, but Widows transcends that precedent, becoming a fine piece of film making with an incredibly sharp edge.

There are times when it lulls, it get distracted by sub plots and the dialogue moves away from its main line of storytelling, but that doesn’t mean it equates to any less in terms of magnitude, it just adds in a little too much of background and unnecessary information.

Viola Davis is impressively commanding, supplying the film with impetus and force. Daniel Kaluuya cements himself as the newest Hollywood force (along with Chalamet), despite his relatively small role, and the overarching nature of the female dominance that resonates from Widows is so smooth it becomes more than refreshing.

This is a film with personality, individuality and grace, despite being nail-bitingly intense. Widows is a great of 2018, but perhaps won’t get the recognition it deserves. Few films will match its intensity and power and it needs to be recognised for that.


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