Widows is the kind of high quality studio fare adults have been begging for in the age of the big blockbuster. It’s whip smart, flawlessly directed, and ferociously acted, all the platitudes you can label on a good film. But it’s the emotional depth and layers of topical issues that make this movie amazing. The
This headline is a bit misleading as I don’t think one of these three is good, bad, and ugly, but such is the nature of the English language. I’ve been a bit slow on the uptake with these awards since they seem to be coming out every two seconds so I’ve decided to do a good, bad, and ugly on three major groups: the Gotham Awards, the Satellite Awards and the New York Film Critics Circle.
By the time 12 Years a Slave had finished it’s running time, I found myself having to take stock of myself. The film, directed by Steve McQueen, is certainly an experience, painting a tough portrait of what happened to many Black people. Though I managed to make it through the film without much incident, I felt a small sense of disconnect, having endured through the movie but not thoroughly engaged, inspite of knowing the film was good. Luckily, there was enough artistry and ideas to keep the film bouncing around my mind and some truly astonishing performances to smooth the issues.
If you have been following any movie news, you know that 12 Years a Slave, the new Steven McQueen film starring Chiwetel Ejiofer, Michael Fassbender and Lupita N’yongo, is tearing up the festival circuit, inspire all sorts of praise and talk of Oscars. It’s been interesting to see a film made by someone of a dark hue winning raves, but there’s another facet to the conversation surrounding the film that has been confounding me. It all started when Brad Pitt made a comment during a press conference about Americans not asking about why there aren’t more films about slavery and eventually saying that it took an outsider to be able to tell this tale.