Widows

McQueen sets a relentlessly portentous tone and employs lots of stark mise-en-scene, but all the fuss feels arbitrary here - the pulpy story simply doesn't warrant such grave stylization.

A thriller for modern women who identify more with the messiness of human lives than with flattened slogans about how great women, as a monolithic group, are.

There can be power in kindness and in camaraderie alongside crime and corruption, and that is the nuance, the depth, and the politics Widows provides.

It would be wrong to place all the credit on the script when every element of Widows expresses character and theme with intelligence and concision.

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.

It offers everything adults used to love about cinema.

Widows is a deconstruction of a heist movie, taking the genre to new and exciting heights.

Whether intimate and quiet or dynamic and deafening, scenes are staged with precision and vitality. For many, McQueen’s stylishness will help excuse the rubbery plot holes, lapses in logic and farfetched surprises...

The incoherence doesn't detract from what's a mostly entertaining movie.

“Widows” may frame itself as a heist movie, but it can hardly be put in that box. McQueen has a much broader aim, and his film touches on a lot of different things.