During an armed robbery by four thieves, Harry, Carlos, Florik and Jimi, a large sum of money was stolen, but the gang was all killed. On the other hand, Harry's widow, Veronica, is threatened by Jamal Manning, the victim who was stolen by Harry and his partners of $ 2 million. Manning needs the money to fund his campaign for a South Side County councilor and may try to bring it back through the gang's widows.
The movie tosses back at viewers a variety of casual exasperations-inchoate, flip, and manipulable-that flatten and simplify the very ills and grievances that it dramatizes.
Less acrid and confrontational than his past work, Widows finds McQueen working in the kind of broadly populist filmmaking spectrum as someone like Michael Mann[.]
On issues of race, politics, gentrification, gender roles, and relationships, it seems to have plenty to say. More often than not, it says it smartly and without bashing you over the head with its ideas.
Very much in the style of Lumet and Pollack, with a dash of Michael Mann's Heat, the film swings big and mainly connects; it excels in characterizations, and only stumbles when confronted with straight-up genre elements.
It's the dashing camerawork and broad historical awareness of Widows that makes it a truly sophisticated action film, and by far the best crime movie of 2018 so far.
