2018 Directed by Steve McQueen
A police shootout leaves four thieves dead during an explosive armed robbery attempt in Chicago. Their widows have nothing in common except a debt left behind by their spouses' criminal activities. Hoping to forge a future on their own terms, they join forces to pull off a heist.
Viola Davis Michelle Rodriguez Elizabeth Debicki Cynthia Erivo Colin Farrell Robert Duvall Liam Neeson Brian Tyree Henry Daniel Kaluuya Lukas Haas Garret Dillahunt Carrie Coon Jacki Weaver Molly Kunz Jon Bernthal Manuel Garcia-Rulfo Matt Walsh Kevin J. O'Connor Michael Harney Clare Cooney Ann Mitchell DeRon J. Powell Adam Wesley Brown Wendy Mateo Matthew Fowler Bailee Brewer Stephen Hill Michael Weber Adepero Oduye Show All…
Tom Lowell Chris Nolte Aaron Crippen Doug Coleman Chris Gann Mickey Giacomazzi Jwaundace Candece Whitney Coleman Randall McDonald Greg Poljacik James Fierro Alisa Hensley Samuel Evan Horowitz Aren Farrington Kelsee King-Devoreaux Olivia Bird
寡妇劫案, 寡妇特工, 寡婦, Viudas, 以寡敌众, As Viúvas
Crime, drugs and gangsters Thrillers and murder mysteries High speed and special ops robbery, criminal, crime, heist or cops terrorism, thriller, gripping, intense or political gangster, crime, criminal, violence or ruthless cops, murder, thriller, detective or crime film noir, femme fatale, 1940s, thriller or intriguing Show All…
four things you need to know about this movie:
1. it completely and utterly rules from start to finish, and is *so* smart about everything from capitalism to camera placement.
2. Viola Davis carries around an adorable Westie for virtually the entire film.
3. Elizabeth Debicki's performance inspired me to say the word "stan" out loud for the first time in my entire stupid life.
4. anyone with cable will watch this on TV no less than 300 times in the next two years.
Gillian Flynn every morning when she wakes up to write: oh I gotta remind everyone that men are trash
this movie is a beautiful magic trick. everything about it screams “boilerplate bargain bin thriller,” but the performances are so captivating and the writing is so focused that it manages to feel... like a prestige movie? pun not intended. even with an undercooked b-story, it’s very smart, surprisingly funny, cynical, and perfectly structured. ya done it again, stevie micks!!
everybody in this movie is very good, but... got damn... daniel fuckin’ kaluuya!!!! viola fuckin’ davis!!!! cynthia fuckin’ erivo!!!! a preemptive “fuck the academy” for ALL y’alls oscar snubs!!!
steve mcqueen and gillian flynn writing the script: yeah we support men’s rights!
them writing the last half hour: men’s rights to shut the fuck up!!!!!!
94
In seemingly an instant, a car holding a prospective Chicago alderman cruises from the projects to his gated, gentrified estate on the outskirts of the 18th ward. The windows are tinted, and Steve McQueen's camera lingers on the exterior of the car and the environment it passes through, with the audio tuned into the conversation inside the vehicle. Never does the featured dialogue mention the people as a collective body worth saving, but merely as polls, numbers, statistics of a victory of whiteness and old money, all while the world passes by, unnoticed and uncared for. Widows confronts the idea of homogeneity within the American system as an unwavering obstacle that can only be fought via assimilation. To succeed…
daniel kaluuya in that one scene be like: It's time to Freestyle for your life. Good Luck and Don't Fuck it up
The only problem with this movie is it should have been like eight hours longer because I did not want it to end ever.
someone: h-
me: CAN SOMEONE HAND DANIEL KALUUYA A FUCKING OSCAR STRAIGHT AWAY LIKE THROW IT AT HIS HAND NOW PLEASE WITH LOTS OF FORCE SORT OF LIKE YEET
