Gillian Flynn

Widows

07/11/18

If I’d ever been asked to predict what Steve McQueen, director of 12 Years a Slave, might choose as his next project, there’s no way I’d have come up with the suggestion that a reboot of a Lynda La Plante TV series from the 1980s might be the perfect fit. But nevertheless, here it is: a big, brash, swaggering crime drama, bearing scant resemblance to the original series, other than its initial set up. For one thing, the story, adapted by McQueen and bestselling author Gillian Flynn, has been ripped from its English roots and relocated to the city of Chicago. For another, this is rather more than just a criminal potboiler  – it’s a nuanced, amoral tale that incorporates a whole bevy of dazzling twists and turns.

McQueen sets out his stall with incredible chutzpah, whizzing us through the opening sequence at an almost breathless pace. We meet Veronica (Viola Davis), loving wife of hyper-successful career criminal, Harry Rawlings (Liam Neeson). We encounter Linda (Michelle Rodriguez), rather less happily married to a gambling-addicted member of Harry’s gang; and we glimpse Alice (Elizabeth Debicki), struggling through an abusive relationship with yet another of these charmers. We also witness Harry’s attempt to steal five million dollars from rival criminal, Jamal Manning (Bryan Tyree Henry), watching agog as it all goes spectacularly tits-up, transforming Harry, the stolen money and his gang into a pile of ashes – and the three women we’ve just met into the widows of the title. And that’s just the opening ten minutes. Phew!

No sooner is the funeral out of the way than Veronica gets a visit from Jamal, who tells her, in no uncertain terms, that he wants his money back and she has just a week to get it for him. Veronica is understandably terrified. She’s not a criminal, she’s a former representative of the Teacher’s Union. How is she going to find the necessary funds? And then she discovers that locked away in his regular hideout, Harry has left detailed plans for yet another audacious robbery…

As the story stretches out, more characters enter the scenario. There’s Colin Farrell as dodgy politician Jack Mulligan, running against Jamal for re-election as a local alderman and trying to shrug free of the embrace of his racist father and political predecessor, Tom (Robert Duvall). There’s Jamal’s terrifyingly brutal henchman, Jatemme (Daniel Kaluuya), tasked with the job of retrieving the stolen money that his boss was planning to use to finance his own political ambitions. And then there’s Belle (rising star, Cynthia Erivo), Linda’s muscular babysitter who is drawn into the ensuing heist when Veronica, Linda and Alice realise they need somebody to drive a getaway vehicle.

It’s all so confidently woven together that there’s barely time to appreciate McQueen’s storytelling skills – though a scene where Mulligan and his assistant drive several blocks in a car is a particular stand-out. The two characters talk off-camera whilst the audience’s gaze remains resolutely fixed on the scenery, making us appreciate what a short drive it is from the poverty stricken community that Mulligan represents to his palatial residence, just a few blocks away.

But this is only one sequence in a film that fairly bristles with invention and one where every character – politician, priest or passing person – comes complete with a hidden agenda and where nothing can be taken at face value. The action sequences are compellingly handled, and there’s a shock reveal half way through proceedings that actually makes me gasp out loud. With so much happening, the running time of two hours and nine minutes fairly gallops by, leaving me vaguely surprised when the closing credits roll.

Okay, you might argue, let’s not get carried away. After all, at the end of the day, it’s still just a crime drama, but one thing’s for certain: if other films in the genre were as assured as this one, chances are I’d be watching a whole lot more of them.

Go see.

4.7 stars

Philip Caveney

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Gone Girl

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4/10/14

David Fincher’s adaptation of Gillian Flynn’s twisted page-turner is a classier affair than the actual book – but as with Before I Go To Sleep, having read the work beforehand is a definite disadvantage, because this is a story that gets its chops from the big reveals it occasionally drops into the proceedings.

On the day of his fifth anniversary, bar owner Nick Dunne (Ben Affleck) comes home to find that his wife, Amy (Rosamund Pike) has gone missing. Signs in the house suggest that she has been abducted. A police investigation ensues and as it unfolds, Nick begins to look more and more suspicious… does he actually know more about Amy’s disappearance than he is letting on? It would be a crime to reveal too much of the plot machinations here because Gone Girl is all about plot. Indeed, Flynn pushes the various twists and turns to such an extent that, in book form at least, the story starts to seem somewhat risible. But Fincher is so adept at creating atmosphere, it’s easier to overlook such shortcomings on the big screen. What’s more he has cast the film so shrewdly, that we believe in characters that on paper seem flimsy.

The book’s conclusion was a particular disappointment for me, but again, Fincher manages to make it work. This is an assured production that never loses momentum and which serves its source material well. If you haven’t already read the novel, maybe you should wait until after you’ve seen the film.

4.2 stars

Philip Caveney