Peter Yates’ 1968 neo-noir action thriller film “Bullitt” was my introduction to one of the coolest actors and movie stars ever to inhabit this planet of ours, Steve McQueen. It also starts off with one of the most ingenious opening title sequences I have ever seen as a dozen men are waiting outside of a building for a certain individual whom we later see is waiting for them and already prepared to escape their clutches. Seeing the names of the main actors being revealed and then having them come right at us showed how creative one can get with opening titles, and they have the benefit of being scored by the man who would later create the music which Edgar Wright would call “acid jazz” for “Dirty Harry,” Lalo Schifrin.
The opening titles for “Bullitt” were designed by Cuban-American graphic and film titles designer, Pablo Ferro. His list of credits is extensive, and many of his other film titles may end up on this website at some point. What I love about his work on this particular sequence is how cool it all works and how it gives you a sense of not only characters on the move like John Ross, but also of how we are invited to look much closer at everything which goes on here. While everything might seem crystal clear on the surface, the antagonists are eventually going to get quite a rude awakening when they realize they are not as smart as they think.
Keep in mind, we do not see any of the main characters in these opening titles. What we do see is the beginning of a chase for a certain individual, and it is contained within a motion picture which has one of the greatest car chases in cinematic history. While we are left to guess how everything we see here adds up, this is perfect as the characters we are eventually introduced to such as Steve McQueen’s Frank Bullitt, Robert Vaughn’s Walter Chambers and Don Gordon’s Detective Delgetti are thrust into a situation which has more layers than they initially realize.
“Bullitt” remains one of the greatest cop movies ever this side of “The French Connection,” and I recommend you check it out if you have not yet done so. Please feel free to check out its opening titles down below.
It’s always cool when a filmmaker sneaks something up on you when you least expect it. On the surface, “Widows” looks like an average heist movie to where I went in thinking it would be another “Ocean’s Eleven,” but I can assure you this is not the case (and we did already have “Ocean’s 8” earlier this year). While this film provides audiences with the requisite action and violence, it cannot be boiled down into one sentence as it deals with themes of class divisions, political corruption and of the lengths many will go to just to make ends meet. What results is a hell of a thriller, and it’s a timely one as the struggles these characters face is all too real in this day and age.
“Widows” starts off with an introduction to the wives before they lose their spouses. Veronica (Viola Davis) shares an especially passionate kiss with her husband Harry Rawlings (Liam Neeson), Linda Perelli (Michelle Rodriguez) haggles with Carlos (Manuel Garcia-Rulfo) over money she needs for her clothing store, Alice Gunner (Elizabeth Debicki) cannot hide the black eye her abusive husband Florek (Jon Bernthal) gave her, and Amanda Nunn (Carrie Coon) is busy with her newborn baby as her significant other Jimmy (Coburn Goss) darts out the door. These scenes are interspersed with these men pulling off a robbery which goes horribly awry and results in their fiery deaths. The editing by Joe Walker is one of the best I have seen in any 2018 movie as he interweaves the different vignettes in a way which feels especially powerful.
From there, the four women attempt to pick up the pieces of their shattered lives as reality comes down hard on them in ways they are not prepared for. Things are especially precarious for Veronica when she is visited by crime boss and aspiring politician Jamal Manning (Brian Tyree Henry) who informs her Harry robbed $2 million dollars from him, and this money was lost in the fire. Jamal demands Veronica pay back this debt sooner rather than later, and the way he holds her dog during this scene will have pet owners gripping their armrests. Following this, Veronica gets together with the other widows to carry out a robbery which will net them the money they need to pay off said debt, and we watch as they take matters into their own hands in a way they never have previously.
I have a confession to make; this is the first movie by filmmaker Steve McQueen I have watched. McQueen has previously given us “Hunger,” “Shame” and “12 Years a Slave” which won the Oscar for Best Picture a couple of years ago. I certainly need to catch up on his work as his flair for filmmaking is clearly on display in “Widows.” Some of the long shots he pulls off here are amazing as the actors are forced to maintain an intensity which is not always easy to do in front of a camera, and it results in highly suspenseful and shocking moments which had the audience I saw it with gasping audibly.
At the center of “Widows” is Viola Davis who has long since proven to be a force of nature. Ever since I first saw her in “Doubt,” she has proven to be a no-nonsense actress and her performances are never less than stunning. As Veronica, she provides the story’s center of gravity as she forces the other women to join with her in a mission no one can easily prepare for, and she does this even as her heart is shattered by a grief she cannot keep inside forever. Even in moments where she doesn’t say a word, Davis makes us see what is going on in her mind without having to spell it out for us. Watching her here, I was reminded of the lethal presence she gave off in the disastrous “Suicide Squad” and of how she would have made a better Joker than Jared Leto.
One actress who really needs to be singled out, however, is Elizabeth Debicki. As Alice, she takes her character from being an abusive pawn for her husband and her equally nasty mother Agnieska (a wickedly good Jacki Weaver) to becoming a person who finds the strength and self-confidence which has eluded her for far too long. She makes Alice’s transition both natural and subtle to where she inhabits the character to where you can never take your eyes off of her.
McQueen and co-writer Gillian Flynn of “Gone Girl” fame adapted this movie from the British miniseries of the same name, one which I’m fairly certain my parents have seen. In this movie’s 129-minute running time, they manage to fit in so many different layers to where “Widows” feels much longer than it already is, but I never lost interest in what unfolded. We get a strong sense of the desperate lives each character leads as they live in a world where no superhero can save them. The two have also moved the story from England to Chicago and, as David Mamet once said, “In Chicago, we love our crooks!”
An interesting subplot which emerges in “Widows” involves a political campaign between Jamal Manning and Jack Mulligan (Colin Farrell), for alderman of a South Side precinct. We already got a glimpse of Jamal’s criminal activities, but Jack is not free of corruption himself. Even worse, his father Tom Mulligan (Robert Duvall, great as always) does nothing to hide his racist attitudes and believes this office is theirs by blood regardless of what the voters end up saying. Farrell is terrific as Jack in showing the shadowy corners he is forced to navigate through in politics. It’s a position he doesn’t want to be in, but he is stuck in the shadow of his incumbent father who is not about to see his son lose the election, and he proves to be as morally compromised, if not more so, as his political adversary.
This also leads to a brilliant scene as McQueen follows Jack as he gets into a car with his associate, and the camera stays outside as we watch them travel from the poor neighborhood he is campaigning in over to the affluent neighborhood where he lives. Is there another scene in a 2018 movie which shows the disparity between the haves and have nots without the use of words? If there is, I haven’t seen it.
Michelle Rodriguez remains as badass as ever, and its great fun watching her hold her own opposite Davis. Cynthia Erivo, who showed us what a great voice she has in “Bad Times as the El Royale,” is furiously good as Belle, a babysitter and beautician constantly running off to the next paying gig as her desperation to keep her head above water keeps her apart from her daughter. And Daniel Kaluuya, who had scored one hell of a breakthrough with “Get Out,” is a devilish delight as Jatemme Manning, a cold as ice psychopath who doesn’t think twice about ending someone’s life, and his presence is enough to frighten the most jaded of filmgoers.
Does “Widows” have plot holes? Perhaps, but I was too caught in the story and performances to really give them any notice. Any questions this movie proved to be refrigerator questions. As for the meaning of that, look to Alfred Hitchcock. This is a thriller which digs deep into the lives of those undone by history and inequity, and it’s hard not to root for them as they take matters into their own hands in a desperate attempt to reach for the life they dreamed of but which is cruelly denied to them. It is full of surprises, many of which I did not seem coming, and McQueen holds us in his cinematic grip from start to finish.
Another thing to take into account about “Widows” is how it deals with the five stages of grief. Getting through them is never easy, but you knew this already. Seeing these characters struggle with their individual grief is not something which draws attention to itself right away, but the ending, which features a character breaking out into a smile she worked hard to get to, shows how one can get to the other side and move on. You could say this only happens in the movies, but this one does not take place in the land of superheroes and comic books. Reality can be harsh, and “Widows” never lets you forget that.
Anyone remember “Papillon,” the 1973 prisoner drama starring Steve McQueen and Dustin Hoffman? Based on the autobiography of the same name, McQueen starred as Henri Charriere, a safecracker who is framed for murder and given a life sentence in the penal system in French Guyana, some of it spent on the infamous Devil’s Island, a location which more than earned its name. Well, Hollywood in its infinite wisdom has decided to remake “Papillon,” and it is set for release this summer. With its first trailer now having been released, one has to wonder if this particular remake of a Steve McQueen movie will have been worth the trouble. I mean, we all saw what happened to Alec Baldwin when he remade “The Getaway.”
Whereas the 1973 had a brutal palette of colors to work from, the trailer starts off with a beautiful image of Henri (now played by Charlie Hunnam) walking outside of the Moulin Rouge with his girlfriend Nenette (Eve Hewson), and it all looks like something out of a dream. This dream, however, is soon shattered when the police break down Henri’s door and arrest him for murder. From there he is sent to the notorious Devil’s Island where he meets Louis Dega (Rami Malek in the Hoffman role), a counterfeiter whom Henri offers to protect if he can help him escape.
The jail, as I see from the trailer, does not look like a particularly inviting place, but then again, no jail ever does. At the same time, it almost looks a little too clean compared to prisons from cinema’s past. As portrayed in the 1973 original, Devil’s Island was the most brutal of locations and one you wanted to keep as far away from as humanly possible. But in this remake, Devil’s Island almost looks like the Hilton in comparison. Furthermore, the big question I have is, how will this remake compare to one of the most brutal prison films of all time, “Midnight Express?” Every other prison film pales in comparison to that one, and watching it makes you see how smuggling hashish out of Turkey is probably not such a good idea.
Hunnam has the unenviable challenge of playing a role originated onscreen by Steve McQueen, a task almost too daunting to undertake. Still, he has proven to be a tough cookie in the past, whether it was on “Sons of Anarchy” or in “Pacific Rim.” Rami Malek, one of the stars of “Mr. Robot,” is currently seeing his stardom rise up to the heavens with the upcoming release of the Queen biopic “Bohemian Rhapsody” in which he portrays Freddie Mercury. Both actors prove to have a good chemistry at work here, so this makes me a little more eager to check out the movie as a result.
Whether or not it was a good reason to remake “Papillon,” we will find out the answer for ourselves when Bleecker Street releases the film this August. Please check out the trailer below.
The Ultimate Rabbit 