Widows has an all-star cast, an Oscar-nominated director, and a best-selling novelist-turned screenwriter, so my expectations might have been turned up a bit too high. It follows a team of titular widows (Viola Davis, Michelle Rodriguez, Elizabeth Dibecki) picking up the pieces in the wake of their husbands’ deaths. It seems their dearly departed spouses stole money from a local criminal who very much demands the sum returned. The women must enter into a criminal heist, using notes left behind by a dead hubby, to settle the debt and spare their lives. Widows is a higher caliber crime movie with notable texture given to a wide assortment of characters; even the villains are given small character touches to better flesh them out and feel more realized. There’s a concurrent election tying together different corrupt and criminal enterprises that widens the scope of the film into a grander scale. The characters and performances are the selling point of the movie and provide consistent entertainment. Davis (Fences) is the strong-willed linchpin of the group and I could watch her boss around people for hours. Dibecki (The Great Gatsby) has a nice turn as a trophy wife accustomed to being abused. The problem is that there might be too many characters. Rodriguez has far more significance in the first thirty minutes and then is put on ice. Likewise, Carrie Coon and Cynthia Erivo are hastily added when the plot requires something of them. That plot, adapted by Gillian Flynn (Gone Girl) and director Steve McQueen (12 Years a Slave), proves to be the film’s biggest hindrance by the end. The second half plot turns seem to come from a schlockier version of this story, not the classier version we had been treated to beforehand. There are character decisions that baffle credulity and personal safety. The quality of the characters deserved a movie that could refrain from the hacky genre twists. McQueen’s precise camerawork is still alive and well and highlights tension and also moments of social commentary, like when we watch a car travel mere blocks from a rundown inner city neighborhood to a fancy gated residence. There’s a lot to like with Widows, and plenty to get excited about, but I wanted to like even more.
Nate’s Grade: B
Black Panther is unlike any other Marvel Cinematic Universe (MCU) film prior. It’s unlike any other super hero film prior. Yes, there have been African-American leading men in comic-based movies, notably Wesley Snipes’ half-vampire-all-badass Blade. However, this is the first movie I can think of with this kind of budget, this kind of backing, and with this kind of ownership over its cultural heritage and the heavy burdens it carries.
We last saw T’Challa (Chadwick Boseman) in Captain America: Civil War mourning the loss of his father, the king of the African nation of Wakanda. The outside world does not know that Wakanda sits on a vast supply of virbanium, the strongest and more durable metal in the world and the key to Wakanda’s impressive technology. Under a holographic cover, Wakanda is a thriving metropolis with flying cars, skyscrapers, and next gen weapons. T’Challa goes home and must earn the right to the throne. However, Erik Killmonger (Michael B. Jordan), a former top-level black ops solider, is looking for his own path into Wakanda and onto the throne. Killmonger teams up with arms dealer, Ulysses Klaue (Andy Serkis), to force Wakanda to deal with being cut off from the world.
This is a movie populated almost entirely by black faces, notably black women (more on that later), and they are given a mainstream platform that celebrates its multitudinous African roots and traditions thanks to co-writer/director Ryan Coogler (Creed). This movie is proudly black, which will rankle some on the fringes of society, as if celebrating one’s own identity is somehow denigrating those who do not apply to that status. Black Panther is not an exclusionary movie because of its content and execution; this is a very accessible movie to a mass audience, even those who haven’t been paying attention to every nitty-gritty detail in the previous seventeen MCU entries. There are only two characters from other MCU films that appear, one as a post-credits cameo and the other an officious representative (Martin Freeman) of the outside’s clandestine organizations. This is a unique world isolated from the long shadow of colonialism. Wakanda has never known, to our knowledge, the depravity of the European and American slave trade. They have continued to develop uninterrupted by conquerors, slave traders, and the crippling aftereffects of racism. The Wakanda people could very easily be the conquerors themselves. They’re the most technologically advanced nation on the planet and hide as a “third-world nation,” utilizing the ignorance of the Western world to its security. The world of Wakanda is a fascinating, awe-inspiring, and defiantly independent nation.
The larger theme is over the responsibilities inherent to those with privilege. The nation of Wakanda is vastly successful by all conventional metrics. T’Challa must wrestle with whether to continue their exclusionary stance, ignore the plight of the larger world and say it’s none of their business or engage with the world, potentially putting his own kingdom’s peace and prosperity at risk. It’s a simple enough theme and yet it has tremendous weight to it especially when you account for those on the other end of the Wakanda borders. The character of Killmonger is a direct reflection of this. His experiences in Oakland are not the ideal pairing with the luxury of Wakanda. Killmonger sees Wakanda’s great influence as a way to protect beleaguered black citizens of the world and especially in the United States. It’s a way to prevent more senseless deaths from black citizens who were slain as a result of the fear of just being black (a powerful example was Coogler’s debut film, Fruitvale Station). It’s a pointed political statement that doesn’t get too heavy-handed (even though I would have preferred that). It questions the value of isolationism especially when suffering can be prevented. Killmonger works as a villain because you can understand his point of view. He goes beyond the need for vengeance. The wrongs he wants to right are larger and historical. Even Killmonger’s last line really attaches itself to this theme. T’Challa offers him a way out but with imprisonment. “No,” Killmonger declines, “My people were the ones who leaped over the sides of the slave ships. They knew death was better than bondage.” The emphasis is “his people,” not T’Challa’s, not Wakanda. His people were the ones who suffered from slavery. Could Wakanda have possibly prevented it?
Another wonderful surprise of Black Panther is its incredible all-female ensemble that provides expert support to their king. T’Challa has the good fortune of four strong women, each of them having a different and vital relationship to him. The standout will be Danai Gurira (TV’s Walking Dead) as the fierce chief of security, Okoye. She has a swagger that vacillates between being intimidating and being brashly enjoyable. Okoye has many of the best lines and she throws herself into every fight. There’s also a sense of duty that transcends a single man that challenges her loyalty. Letitia Wright (TV’s Humans) plays Shuri, the Q of this world, the top scientist and creator of many a gadget. She’s T’Challa’s little sister and their interplay is very competitive and teasing. She’s looking to be more involved in the action and a highlight is when she teams up with her big bro. Lupita Nyong’o (The Jungle Book) is Nakia, a former flame of T’Challa’s who comes in and out of his life as an undercover spy. All three of these women have a powerful sense of agency and are integrated in important and essential ways. Even though Nakia may slide into that romantic interest role, she still has a vibrant life outside whatever feelings she may or may not have for the hero. Then there’s T’Challa’s mother, Ramonda (Angela Bassett), who radiates strength and fortitude. These women gave me some of the biggest moments of entertainment in the entire 135 minutes of movie.
Now some careful readers might note that I haven’t done much to emphasize the actual action of the super hero action movie, and that’s for a good reason. Black Panther stands stronger on theme and character than it does its actual action sequences. Coogler had a wonderful sense of scale and verisimilitude with 2015’s Creed, relying on long takes to put the audience in the heightened drama of the boxing ring. With Black Panther, the action sequences can lose a sense of immediacy. Many happen at night or are filmed and edited in ways that diminish some of their impact, like hand-to-hand combat in splashing water where the splashes obscure the activity. Other scenes felt like a video game CGI cut-scene. Speaking of video games, Black Panther’s suit has a crazy ability to absorb the kinetic energy of weapons, which means the stakes take a dip when our hero can merely just stand and allow himself to get shot repeatedly. The payoff for this absorption is a giant energy shockwave but it plays out like a fighting game’s special feature. It’s an aspect that’s not really utilized in a satisfying or unique way. The final showdown between Black Panther and Killmonger feels too weightless in execution. It’s meant to even the playing field by nullifying their extra abilities, but if they both have the same “Panther powers” isn’t the field already even? The third act, the usual punching bag for MCU critics, is the best part of the movie from an action standpoint. It utilizes the characters in significant ways and allows for organic complications while still maintaining its wider sense of spectacle. Plus it’s one of the few action sequences that allow all the pyrotechnics to be enjoyed during the visibility of day.
Boseman (Marshall) was an excellent choice for a stoic and too-cool-for-school character that can glide right on by. The ageless Boseman is at his best when he’s working off the other actors, especially his female posse. He has a couple of very effective emotional confrontations as he learns of his family’s secrets. As steady and soothing a presence as Boseman can be, this is Jordan’s movie. Michael B. Jordan (Creed) has been Coogler’s cinematic good luck charm and we’re still benefiting from that divine kinship. His character is at the heart of the central thematic question. While T’Challa is ultimately the one who has to decide, it is Killmonger who embodies that need for change and the desire to rectify the past. There’s a flashback with Jordan that got me to tear up, and this guy was the villain! It’s one of the film’s biggest mistakes sidelining Jordan for far too long. After his introduction, Killmonger is strangely absent for the next hour or so of the movie, ceding the spotlight to Serkis (War for the Planet of the Apes), a more antic and goofy scenery-chewing baddie who has a few regrettably “faux hip” lines of dialogue that land awkwardly. Serkis is having a blast but can feel like a holdover from a different film.
Much like last summer’s Wonder Woman, this is a movie that is going to mean a lot to a lot of people. It has a personal significance that I will not be able to fully tap into, no matter the expansive powers of empathy. Black Panther, as a long-awaited cultural moment, will have many ripples of inspiration. After my early screening, I sat back and watched an African-American boy, no older than seven or eight, walk out of the theater in a daze. His eyes were wide, his mouth agape, and he said in astonishment, “That was the best movie ever.” That kid has a hero he can call his own. That matters. Black Panther, as a work of art, is rich in topical themes and has a wide supporting net of exciting, robust, and capable women. I enjoyed how personal and relevant and political the movie could become, folding new and challenging ideas onto the MCU formula. Coogler is a marvelous director and storyteller showing rare acumen for being able to handle the rigors of a Hollywood blockbuster and deliver something hearty. The action has some issues and there are some structural hiccups that hold it from the MCU’s upper echelon (I enjoyed all of the 2017 MCU movies better). Black Panther is a winning movie when it features its sterling cast celebrating their virtues and solidarity and a still respectable enough action spectacle when called upon for big screen duty.
Nate’s Grade: B
After years as a brilliant sketch comedian, Get Out is Jordan Peele’s first foray into horror, and if this gifted comic mind only wanted to make suspense thrillers from now on, that would be mighty fine. This is the first horror movie in years that left me buzzing, feeling charged and anxious, anxious to share with others so they too can feel the full effect of this live wire of a movie. It may be my favorite theatrical horror film since 2012’s The Cabin in the Woods, and what they both have in common is a knowing understanding of their genres and expectations, a delicately balanced sense of tone, and a funhouse of darkly clever surprises. This is a movie rich with commentary, suspense, payoffs, and it all begins by exploring the dread-filled everyday existence of African-American men in this country as a waking horror movie that cannot be escaped.
Before even going further, I advise most readers to go into Get Out with as little knowledge as possible, which I understand means delaying reading this review. I can accept the loss of eyeballs knowing that more people will go in with an even greater ability to be surprised (I’ll avoid significant spoilers below, so fear not, dear reader).
Chris (Daniel Kaluuya) is visiting the parents of his girlfriend for the first time. He’s worried that Rose Armitage (Allison Williams) hasn’t mentioned that he’s black. She assures him that her rich, wealthy, and liberal family won’t care in the slightest. Rose swears her parents are the least racist people she can think of. Dean (Bradley Whitford) is a retired brain surgeon, Missy (Catherine Keener) is a hypnotherapist who volunteers to help Chris stop smoking, and Rose’s younger brother, Jeremy (Caleb Landry Jones), is obsessed with martial arts and lacrosse. They also have black housekeepers, which Dean says he hates how it looks. It isn’t long before Chris’ sense of unease starts to make him rethink this weekend getaway and whether or not something sinister is under the surface.
Early on, Peele tips his hand to the sharp social and genre criticism. In the opening scene we watch Andrew (Lakeith Stanfield), a young black man, walking around lost in a tony suburban neighborhood. He checks his phone for an address when a lone car drives past him, stops, and turns around, pulling up next to Andrew and idling, blasting the old song “Run Rabbit Run.” He takes one look at the situation and immediately turns around, heading in the opposite direction. “Not today,” he says to himself, clearly providing voice to the audience’s apprehension. And yet, he’s incapacitated, and abducted by masked assailants. Even self-awareness and avoidance will not be enough for this man to survive if captured within the crosshairs of modern White America. He becomes another horror victim just like we might see splashed across the news all too often.
Peele’s biting social commentary is ever-present but it never outpaces the genuine fun and entertainment from his genre storytelling. It’s a condemnation of the fallacy of a post-racial society and an exploration of the uncomfortable burdens African-Americans are disproportionately expected to bear in general. Rose’s family is all too happy to show off how seemingly inclusive they are. Rose’s father confesses, with no legitimate conversational prompting, that he would have voted for Obama a third time (trust me, there’s a lot of people in the camp, Dean). Yet he seems to enjoy awkwardly inserting recitations of “my man” while also trying to openly explain why he has eerily subservient black housekeepers. Rose’s antic brother seems to hungrily size Chris up as a physical challenge to battle, openly admiring his “genetic gifts.” Despite their self-styled liberalism and protests to the contrary that race doesn’t matter, the family can’t help but treat Chris like an other. Race “doesn’t matter” to people who have the position where it might not matter, the same going for those who elect to be “color blind.”
This stifling sense of condescension and pandering is best exemplified in a deeply awkward sequence where Chris is introduced at a party to the whole older majority-white neighborhood. One man informs him he likes Tiger Woods. Another says being black is hip. A woman squeezes his muscles in transparent lust. Another asks what the “African-American experience” is like and whether Chris feels being born black is an advantage. All through this meet-and-greet gauntlet, Chris is holding his carefully crafted smile, trying to shrug off the mounting discomfort, and being told not to make a big deal out of it. After all, these are well-educated liberals, the “good ones.” They can’t be racist too.
Get Out is also an excellent example of a movie that straddles a precise tone to perfection. Peele has a carefully refined comedy sensibility, but I was genuinely awed in his ability to go from sardonically funny to creepy funny to just plain creepy. There’s an increasingly heightened sense of dread from the get-go. It’s like any other horror premise where our protagonist goes into the house they shouldn’t and combats a host of horrors be they supernatural or superhuman. In this case, the scary scenario is white people. There’s a general off feeling about the Armitage estate and this is best encapsulated with their hired help, Walter (Marcus Henderson) and Georgina (Betty Gabriel). They seem to be in a robotic daze, smiles plastered to their faces, their tone of voice disquietingly calm and meticulous. Even the antiquated and culturally incongruous vocabulary they employ contributes to their unsettling vibes. Something is wrong here. There is a remarkable scene where Chris speaks with Georgina, and she hovers closer to him to apologize. Peele keeps the camera locked on his actor’s faces in extreme close-ups and he has a damn good reason for it. Gabriel (The Purge: Election Year) tries to reassure him all is normal and in one mesmerizing moment the camera fixates on her as she repeats “no,” each time a different reflection, her eyes tearing up as she tries to fight back subverted emotions. It feels like you’re watching twenty emotions and impulses fighting for dominance behind an impassive mask of compliance. Peele magnificently finds ways to keep his elements intensely upsetting while still finding room to laugh and break tension and increase tension.
While more a suspense thriller than a traditional horror film, Peele proves himself shockingly adept at a genre that I would have assumed outside his comfort zone. The shot arrangements and the natural development of tension shows clear knowledge and affinity for the horror genre; Peele knows when to hold onto a moment for extra suspense, when to pull back, and especially when to litter the camera frame with something to draw the eye. Peele has a great eye for his troubling, surreal visuals. When Chris is hypnotized and instructed to “sink into the floor” it’s like he’s falling into an inky void while his consciousness plays out on a square, like his life is a movie only he can watch from a distance. You feel the helplessness but it’s also a beautiful and beautifully unnerving image. There are a few jump scares accompanied by loud musical stings but the far majority of the movie is the overwhelming discomfort and dread marvelously kept at a continual simmer. I was squirming in my seat for long stretches and started backpedaling in others, and I can’t remember another movie in years affecting me that well. It’s partly the terrific execution of his genre elements but also partly because I liked the protagonist and had no idea what would happen to him next, which is the foundation of all horror. The last act cranks up the genre elements but Peele has brilliantly structured his script, laying out all the pieces he’ll need that provide an array of payoffs when we’re breaking for the finish line. This is a movie that knows how to satisfy all audiences, rest assured.
The actors are pitch-perfect and Kaluuya (Sicario, Black Mirror) delivers a star-making performance. He has to wear his own mask to deal with the small and large iniquities of whether or not these people are sinister or whether they’re just oblivious cretins. Chris is a black man expected to mind his manners and to laugh away the casual ignorance afforded by the oblivious privilege of others. He can never be unaware as the lone black man in a sea of white faces. It’s a position I think many people in the audience will be able to relate to and hopefully others can empathize with. Kaluuya has some standout emotional sequences where he digs deep to show the real depth of a character others fetishize or dismiss. Kaluuya is also British and you’d never know it. The Armitage family clan are each their own slice of weird. Whitford (The Cabin in the Woods) is exploding with thinly veiled smarm and great comic awkwardness. Keener (Capote) is chilling in her icy WASP den mother role with her weapon of choice, and hypnotic aid, being a literal silver spoon. Williams is like her blithely privileged character stepped out of HBO’s Girls, and her flippant attitude to Chris’s perspective belies something familiar and darker. The other best actor in the movie is LilRel Howrey (The Carmichael Show) who play’s a friend to Chris that works for the TSA. He’s a reliable and reliable crude source of comic relief but he’s also our ally on the outside, and he behaves like an intelligent investigator trying to save him. I was actually applauding his sensible steps to see through the sinister conspiracy.
It’s been hours since I saw Get Out and I’m still buzzing from the experience. I was unprepared for how genuinely unnerving and invigorating the movie was as a horror thriller, character piece, but also as a trenchant social satire on race. Jordan Peele has established himself as an immediate visionary in the world of horror, taking the black protagonist who might usually be the first to get killed in a Hollywood slasher flick and widening the boundaries of horror. The real-lie horror film is day-to-day existence in the United States as a person of color. Get Out was conceived in the Obama era but has even more renewed resonance under the beginnings of the Age of Trump. I remember people saying that America now existed in a post-racial world, but we live in the kind of world that takes a call for innocent black lives to stop being executed by police officers and transforms it into All Lives Matter. It’s a hazardous world and Peele has created a marvelous movie where the insidious, ever-present force that cannot be escaped is not a maniac with a chainsaw or some cranky ghost, it’s white society itself. As the news has indicated, from Trayvon Martin to Sandra Bland and numerous others, there isn’t exactly a safe territory to escape to. Danger and death can come at any moment as long as a larger society perceives black skin as a threat first and a person second. Get Out is a timely movie but also timeless, thanks to how brilliantly conceived, developed, and executed Peel’s movie performs. This will make my top ten list for the year. Simply put, stop whatever you’re doing and go out to go see Get Out as soon as possible.
Nate’s Grade: A