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Widows review: telegraphed plot points make for a predictable watch


Widows review: telegraphed plot points make for a predictable watch

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Widows, a film so black and white it’s quite literally black and white. Up against time, the widows of criminals killed on the job try to pay off the debt they’ve been left with.

Steve McQueen does this, sadly, with such increasingly obvious, telegraphed plot points that it was hard to enjoy.

It started so well, with an enticing premise, eased into with class. However, Widows took that good idea and ran way too far with it. The killing off of the titular Widows’ famous husbands (Liam Neeson, Jon Bernthal et al.) very quickly was an excellent – a clever casting device.

However, it turns out that (like the rest of the film) given you knew the husband’s fate based on the very title, every clever twist is broadcast to you before to the event. As viewing minutes tick by, this grows increasingly frustrating.

And for a film with such a feminist feel and subject matter, there’s a lot of woman-on-woman slapping. In fact, from memory, all hand-to-hand female violence is a slap.

The film ramps up the racial subtext with increasingly apparent visual clues: black and white, black and white, black and white – we get it! If you want to see a good, honest, heist film, watch The Town, see Inception, Lock Stock, Ronin, or Heat and if you’ve seen them, then you don’t need to see this.

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