Set in contemporary Chicago, amid 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.
A war-hardened Crusader and his Moorish commander mount an audacious revolt against the corrupt English crown in a thrilling action-adventure packed with gritty battlefield exploits, mind-blowing fight choreography, and a timeless romance.
Circa 1969, several strangers, most with a secret to bury, meet by chance at Lake Tahoe's El Royale, a rundown hotel with a dark past. Over the course of one night, everyone will show their true colors - before everything goes to hell.
When Lee Israel falls out of step with current tastes, she turns her art form to deception. An adaptation of the memoir Can You Ever Forgive Me?, the true story of best-selling celebrity biographer Lee Israel.
Richard E. Grant,
In early 18th century England, a frail Queen Anne (Colman) occupies the throne and her close friend Lady Sarah (Weisz) governs the country in her stead. When a new servant Abigail (Stone) arrives, her charm endears her to Sarah.
"Widows" is the story of four women with nothing in common except a debt left behind by their dead husbands' criminal activities. Set in contemporary Chicago, amid a time of turmoil, tensions build when Veronica (Viola Davis), Alice (Elizabeth Debicki), Linda (Michelle Rodriguez) and Belle (Cynthia Erivo) take their fate into their own hands and conspire to forge a future on their own terms.Written by
Twentieth Century Fox
When Veronica goes to find Jack Mulligan in his office, you can see a poster of the "Montecchi e Capuleti" from Romeo and Juliet. In the play there were two rival families, like the Mulligans and the Mannings. See more »
When the 'husbands' gang are surrounded and the van explodes it neatly separates into two halves and was clearly cut in two by the production crew. Real explosions are not so neat. See more »
[to her gang]
Now the best thing we have going for us, is being who we are.
Because no-one thinks we have the balls to pull this off.
See more »
My partner was so upset by this film that she made me watch the original TV series from the 80s. Incidentally, it still stands up and makes a lot more sense.
But the question must be asked, in this day and age, why convert something that was a TV series into a film? The story of wives taking on a bank heist feels kind of #metoo in a perverse way so I get that, but the motivation of too many of the major characters simply make no sense.
Colin Farrell plays a snake politician who wants no part in the family business, but already seems to be getting far too involved out of choice. One of the wives has a relationship whose only purpose is to provide a MacGuffin - this would be embarrassing in a student film. There is a Star Wars moment between one wife and another guy where the audience just laughs at how clumsy it is - this might be deliberate but plays no useful part in a heist film. The portrayal of the black gangsters is slightly more nuanced, but the only bits thats stick are uses of violence. There is also one more unexplained major character as you get nearer the end.
Viola Davis is very good, and McQueen clearly remembered her from Secrets and Lies, and most of the rest of the cast do their stuff well. Daniel Kaluuya is chilling. But Chicago itself makes less impact on the film. Some of the location choices were frankly puzzling.
I think the director (Steve McQueen) has managed to string a set of scenes that he feels have real human emotion in them, but has manifestly failed to create a film. Let alone a heist film. A brief look back at the brilliant Heat reveals a director who gave himself to the genre and let the cast breathe life into the characters. This film is treated more like a stage play, with characters already too constrained to expand.
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