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Widows (2018)

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Set in contemporary Chicago, amid a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands' criminal activities, take fate into their own hands, and conspire to forge a future on their own terms.

Director:

Steve McQueen

Writers:

Gillian Flynn (screenplay by), Steve McQueen (screenplay by) | 1 more credit »
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'Widows' Cast on the Movie's Most Important Scene

Widows stars Viola Davis and Liam Neeson reveal how the film's first moments set the stage for a groundbreaking heist film.

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Nominated for 1 BAFTA Film Award. Another 14 wins & 74 nominations. See more awards »

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Cast

Cast overview, first billed only:
Viola Davis ... Veronica
Liam Neeson ... Harry Rawlings
Jon Bernthal ... Florek
Manuel Garcia-Rulfo ... Carlos
Coburn Goss ... Jimmy Nunn
Michelle Rodriguez ... Linda
Alejandro Verdin ... Xavy
Bailey Rhyse Walters ... Gracie (as Bailey Walters)
Elizabeth Debicki ... Alice
Carrie Coon ... Amanda
Robert Duvall ... Tom Mulligan
Colin Farrell ... Jack Mulligan
Molly Kunz ... Siobhan
James Vincent Meredith ... John / Mulligan Man
Brian Tyree Henry ... Jamal Manning
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Storyline

"Widows" is the story of four women with nothing in common except a debt left behind by their dead husbands' criminal activities. Set in contemporary Chicago, amid a time of turmoil, tensions build when Veronica (Viola Davis), Alice (Elizabeth Debicki), Linda (Michelle Rodriguez) and Belle (Cynthia Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Written by Twentieth Century Fox

Plot Summary | Plot Synopsis

Taglines:

Left with nothing. Capable of anything.

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for violence, language throughout, and some sexual content/nudity | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official Site | See more »

Country:

UK | USA

Language:

English | Spanish | Polish

Release Date:

16 November 2018 (USA) See more »

Also Known As:

Widows See more »

Filming Locations:

Chicago, Illinois, USA See more »

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Box Office

Budget:

$42,000,000 (estimated)

Opening Weekend USA:

$12,361,307, 18 November 2018

Gross USA:

$42,402,632

Cumulative Worldwide Gross:

$75,984,700
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Atmos

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

Linda's shop sells clothes and ornaments for the fifteen years celebration (quinceanera). By this celebration, girls from Hispanoamerica are introduced into society and recognized as women. See more »

Goofs

As the Mulligan limousine approaches their home during their return trip from the MWOW rally, the car (with camera on the front, looking back at the windshield) blows right through a 4-way Stop intersection without even slowing down. See more »

Quotes

[last lines]
Veronica: Alice! How you been?
See more »


Soundtracks

Wild Is the Wind
Written by Ned Washington & Dimitri Tiomkin
Performed by Nina Simone
Published by Universal Music Publishing MGB Ltd. on behalf of Patti Washington Music & used by kind permission of Carlin Music Corp. & used by permission of Shapiro Bernstein & Co. Ltd. on behalf of Catharine Hinen Music
Courtesy of Verve Records
Under license from Universal Music Operations Ltd.
See more »

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User Reviews

 
squeezing in every message possible
16 November 2018 | by ferguson-6See all my reviews

Greetings again from the darkness. Woman power. Black power. Racist old white men. Corrupt politicians. Abusive husbands. Cheating white husbands. Racist cops. Men are bad. Women are strong and good. If a filmmaker were to blend all of these stereotypes into a single movie, then as movie goers we should expect an ultra-talented filmmaker like Steve McQueen to go beyond conventional genre. Unfortunately, a nice twist on the heist movie formula from Lynda La Plante's novel turns into predictability that whips us with societal clichés posing as societal insight.

I seem to be one of the few not raving about this movie. Hey it has the director behind Best Picture Oscar winner 12 YEARS A SLAVE (Mr. McQueen), a screenplay he co-wrote with Gillian Flynn (GONE GIRL) from the aforementioned novel by Lynda La Plante, and a deep and talented cast of popular actors. It ticks every box and it's likely to be a crowd-pleaser, despite my disappointment. Every spot where I expected intrigue, the film instead delivered yet another eye-roll and easy-to-spot twist with a cultural lesson. Each of the actors does tremendous work, it just happens to be with material they could perform in their sleep.

It's the kind of film where audience members talk to the screen - and it plays like that's the desired reaction. This is the 4th generation of the source material, including 3 previous TV mini-series (1983, 1985, 2002). It makes sense that this material would be better suited to multiple episodes, rather than hurried through 2 hours. There are too many characters who get short-changed, and so little time to let the personalities breathe and grow. But this is about delivering as many messages as possible.

A strong premise is based in Chicago, and finds a team of four burglars on a job gone wrong. This leaves a mobster/politician looking to the four widows (hence the title) for reparations. Since the women have no money, their only hope is to tackle the next job their men had planned. Viola Davis, Michelle Rodriguez, Elizabeth Debicki, and Carrie Coon play the widows, though only the first three are given much to do, as the talented Ms. Coon is short-changed. In fact, Ms. Davis is such a strong screen presence that she dominates every scene she is in - she's a true powerhouse. Even Liam Neeson can't hang with her. Colin Farrell appears as a smarmy politician and Robert Duvall is his f-word spouting former Alderman dad. Cynthia Erivo has a nice supporting turn in support of the women, and Bryan Tyree Henry, Daniel Kaluuya, Jacki Weaver, Garret Dillahunt, Kevin J O'Connor, Lukas Haas, and Jon Bernthal fill out the deep cast ... see what I mean about too many characters and too little time?

There is no single thing to point at as the cause for letdown. The story just needed to be smarter and stop trying so hard to comment on current societal ills. As an example, a quick-trigger cop shooting an innocent young African-American male seems thrown in for the sole purpose of ensuring white guilt and an emotional outburst from the audience. It's difficult to even term this film as manipulating since we see the turns coming far in advance. Two far superior message films released earlier this year are Spike Lee's BLACKKKLANSMAN and Boots Riley's SORRY TO BOTHER YOU. For those who need only emotion and little intellect in their movies, this not-so-thrilling heist might work. For the rest of you, it's good eye-roll practice.


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