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In the contemporary state of Chicago, there is a large armed robbery by four people who form an armed gang. The four are killed at the same time, but they may leave behind four widows in a major predicament and upset by the theft of a large sum before they are killed. Two million dollars is the value of the stolen amount. The four widows face a new and bad fate. These women are met by the owner of the stolen money who is trying to enter into challenges for the return of money.
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.