16 November 2018 | ferguson-6
squeezing in every message possible
Greetings again from the darkness. Woman power. Black power. Racist old white men. Corrupt politicians. Abusive husbands. Cheating white husbands. Racist cops. Men are bad. Women are strong and good. If a filmmaker were to blend all of these stereotypes into a single movie, then as movie goers we should expect an ultra-talented filmmaker like Steve McQueen to go beyond conventional genre. Unfortunately, a nice twist on the heist movie formula from Lynda La Plante's novel turns into predictability that whips us with societal clichés posing as societal insight.
I seem to be one of the few not raving about this movie. Hey it has the director behind Best Picture Oscar winner 12 YEARS A SLAVE (Mr. McQueen), a screenplay he co-wrote with Gillian Flynn (GONE GIRL) from the aforementioned novel by Lynda La Plante, and a deep and talented cast of popular actors. It ticks every box and it's likely to be a crowd-pleaser, despite my disappointment. Every spot where I expected intrigue, the film instead delivered yet another eye-roll and easy-to-spot twist with a cultural lesson. Each of the actors does tremendous work, it just happens to be with material they could perform in their sleep.
It's the kind of film where audience members talk to the screen - and it plays like that's the desired reaction. This is the 4th generation of the source material, including 3 previous TV mini-series (1983, 1985, 2002). It makes sense that this material would be better suited to multiple episodes, rather than hurried through 2 hours. There are too many characters who get short-changed, and so little time to let the personalities breathe and grow. But this is about delivering as many messages as possible.
A strong premise is based in Chicago, and finds a team of four burglars on a job gone wrong. This leaves a mobster/politician looking to the four widows (hence the title) for reparations. Since the women have no money, their only hope is to tackle the next job their men had planned. Viola Davis, Michelle Rodriguez, Elizabeth Debicki, and Carrie Coon play the widows, though only the first three are given much to do, as the talented Ms. Coon is short-changed. In fact, Ms. Davis is such a strong screen presence that she dominates every scene she is in - she's a true powerhouse. Even Liam Neeson can't hang with her. Colin Farrell appears as a smarmy politician and Robert Duvall is his f-word spouting former Alderman dad. Cynthia Erivo has a nice supporting turn in support of the women, and Bryan Tyree Henry, Daniel Kaluuya, Jacki Weaver, Garret Dillahunt, Kevin J O'Connor, Lukas Haas, and Jon Bernthal fill out the deep cast ... see what I mean about too many characters and too little time?
There is no single thing to point at as the cause for letdown. The story just needed to be smarter and stop trying so hard to comment on current societal ills. As an example, a quick-trigger cop shooting an innocent young African-American male seems thrown in for the sole purpose of ensuring white guilt and an emotional outburst from the audience. It's difficult to even term this film as manipulating since we see the turns coming far in advance. Two far superior message films released earlier this year are Spike Lee's BLACKKKLANSMAN and Boots Riley's SORRY TO BOTHER YOU. For those who need only emotion and little intellect in their movies, this not-so-thrilling heist might work. For the rest of you, it's good eye-roll practice.