Viola Davis

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

Advertisements

Fences

05/02/17

Fences is a compelling movie, with towering performances from each of its actors. Adapted by August Wilson from his play of the same name, it tells the tale of an African-American refuse collector, Troy Maxson, and is a searing indictment of the American Dream. The film wears its theatrical origins with pride; there’s little attempt here to render the claustrophobic domestic story more cinematic: we rarely venture beyond Troy’s half-fenced yard.

Denzel Washington is Troy, a Willy Loman-esque character, reflecting bitterly on a  lifetime of thwarted ambitions and unrealised dreams. Indeed, the whole piece is very reminiscent of Death of a Salesman, and just as unflinching in its exposure of the fallacies we are sold. Washington’s performance is stunning: Troy is just about as flawed as a man can be – he’s selfish, demanding, dictatorial and often wrong – but we are always aware of the insecurities that drive him; we can always see the vulnerability that lurks beneath the brute. We might not like him, but he has our sympathy.

Viola Davis is equally irresistible, exuding depth and dignity; the characterisation here is impeccable. Powerless to protect her son, Cory (Jovan Adepo), from his father’s injustice, she nevertheless holds up a mirror to her errant husband, and doesn’t let him shy away from the truth of who he is. When Troy betrays her, her anguish is palpable – but so is her love. And it’s this love, I think, that holds the piece together, and redeems Troy – sort of – in the end.

Denzel Washington’s direction is confident and assured. The film builds slowly towards the inevitable tragedy at its heart and, for the most part, this pace works well. I felt the last half hour dragged a little, with perhaps too much crammed in to what is essentially a coda – but overall, there’s not much to complain of here. It’s a fascinating, well-told, cautionary tale. The Oscar nomination is very well-deserved.

4.5 stars

Susan Singfield