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This exciting and violent story takes place in contemporary Chicago. The story tells of the involvement of four women in serious trouble and disruptions over large debts left by their husbands before they were killed in an armed robbery. It is a new and bad fate for these women to be met by the owner of stolen money who wants his money for his campaign.
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.
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.