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Phillip McSween (751 KP) rated Widows (2018) in Movies
Jan 31, 2019
Loved it
A film with Viola Davis and Liam Neeson? Yep, count me in! Solid drama about a crew of women planning to finish the heist that their deceased husbands started.
Acting: 10
Viola Davis. Viola Davis. Viola Davis. The power behind her acting is so evident, so purposeful. She plays the role of Veronica, a hard-ass who is also trying to mask her vulnerability. Her words are few, but her impact carries the film. She isn’t alone in her strong performance as Elizabeth Debicki and Cynthia Erivo also held their own. I appreciated the way Debicki showed her character’s growth from the beginning of the film to the end. Once passive and weak, she emerges as one that’s willing to do what she needs to survive.
I didn’t mention Michelle Rodriguez for a reason. I wasn’t impressed with her role this time around. Kind of a lame duck. Sorry, Michelle.
Beginning: 10
Widows gets off to a really hot start as it moves back and forth between the daily life of the main character Veronica and the heist that went wrong. It sets the tone that the film will be conflict-driven and entertaining. Watching the first ten minutes had me really excited to see the rest.
Characters: 9
Cinematography/Visuals: 5
There’s nothing that really stood out for me and that’s not necessarily a bad thing. Widows was shot plainly and in forgettable fashion. Fortunately the story and the conflict that moves the story are both extremely strong. At the end of the day, if you tell a good story the right way, you don’t have to go overboard with cinematic flare.
Conflict: 8
Solid action here. The movie benefits by having strong antagonists that actually make you fear for the lives of the main characters. You can’t really predict what is going to happen from one scene to the next. The intensity picks up even more when the characters arrive at the main heist. Very strong scene that will have you on the edge of your seat as you anticipate things going horribly wrong.
Genre: 8
I give credit to stories that are told in unique fashion. There aren’t enough heist films starring women so I’m hoping this is the beginning of what could be a very popular trend. From a dramatic standpoint, Widows absolutely holds its own.
Memorability: 8
Pace: 9
Plot: 10
Again, much credit is given to originality. The story moves quickly and is believable, only really slowing down in one spot. I also appreciate the twists that add some flare to the story without overdoing it. Sometimes twists can cause a hug eyeroll. Not this time.
Resolution: 10
Overall: 87
My expectations were minimal, but I must say that I was thoroughly impressed with how Widows turned out. It’s a fun ride from beginning to end. You won’t be disappointed.
Acting: 10
Viola Davis. Viola Davis. Viola Davis. The power behind her acting is so evident, so purposeful. She plays the role of Veronica, a hard-ass who is also trying to mask her vulnerability. Her words are few, but her impact carries the film. She isn’t alone in her strong performance as Elizabeth Debicki and Cynthia Erivo also held their own. I appreciated the way Debicki showed her character’s growth from the beginning of the film to the end. Once passive and weak, she emerges as one that’s willing to do what she needs to survive.
I didn’t mention Michelle Rodriguez for a reason. I wasn’t impressed with her role this time around. Kind of a lame duck. Sorry, Michelle.
Beginning: 10
Widows gets off to a really hot start as it moves back and forth between the daily life of the main character Veronica and the heist that went wrong. It sets the tone that the film will be conflict-driven and entertaining. Watching the first ten minutes had me really excited to see the rest.
Characters: 9
Cinematography/Visuals: 5
There’s nothing that really stood out for me and that’s not necessarily a bad thing. Widows was shot plainly and in forgettable fashion. Fortunately the story and the conflict that moves the story are both extremely strong. At the end of the day, if you tell a good story the right way, you don’t have to go overboard with cinematic flare.
Conflict: 8
Solid action here. The movie benefits by having strong antagonists that actually make you fear for the lives of the main characters. You can’t really predict what is going to happen from one scene to the next. The intensity picks up even more when the characters arrive at the main heist. Very strong scene that will have you on the edge of your seat as you anticipate things going horribly wrong.
Genre: 8
I give credit to stories that are told in unique fashion. There aren’t enough heist films starring women so I’m hoping this is the beginning of what could be a very popular trend. From a dramatic standpoint, Widows absolutely holds its own.
Memorability: 8
Pace: 9
Plot: 10
Again, much credit is given to originality. The story moves quickly and is believable, only really slowing down in one spot. I also appreciate the twists that add some flare to the story without overdoing it. Sometimes twists can cause a hug eyeroll. Not this time.
Resolution: 10
Overall: 87
My expectations were minimal, but I must say that I was thoroughly impressed with how Widows turned out. It’s a fun ride from beginning to end. You won’t be disappointed.
Daniel Boyd (1066 KP) rated Widows (2018) in Movies
Nov 14, 2018 (Updated Nov 14, 2018)
Outstanding performances from the entire cast (3 more)
Phenomenal Direction
Clever Cinematography
A Brilliant Script With Sharp Dialogue
The Best Movie I Have Seen This Year
Widows is an outstanding thriller from Steve McQueen. It stars a brilliant Viola Davis as Veronica Rawlings at the top of her game as a widow of her criminal husband. He and his crew died during the heist and now she and the other widows of the recently deceased crew decide to complete the heist and take the money for themselves. That is the basic plot outline, but it is actually a lot more in depth and layered than that, embroiled in politics and gang rivalries, amongst even more complex elements. However, although there are a lot of moving parts in the film, it never seems confused or messy. It doesn't treat it's audience like idiots either, as long as you are paying attention.
The cast are astonishing in the movie and I truly believe that is the sign of a great director getting the best out of his actors. Viola Davis is an acting powerhouse, making you want to cry one moment and then stand up and jump into battle with her the next. That woman could read the phonebook and make it sound convincingly intense. She is supported by a fantastic turn from Michelle Rodrigez, an actress who I have been a fan of for years, but can sometimes be known to come across fairly wooden. Not here, she is convincing and passionate in every scene she appears in. I also really liked seeing Elizabeth Debecki playing against type here. She is usually cast as a 'perfect,' type of character, such as Tom Hiddleston's love interest in Night Manager or as a member of the perfect alien race in Guardians of The Galaxy. Here she is a much more realistic, down to earth character. Cynthia Erivo, who came out of nowhere and blew me away in Bad Times At The El Royale, also appears here as the crew's driver and gives a genuine, energetic performance who is also the first one to stand up to Veronica's hard-ass attitude. Carrie Coon appears briefly as another widow, but her role is more of a cameo than anything else, it is still important to the story though towards the film's conclusion.
The male actors in the film are equally as brilliant as their female counterparts. I don't want to give too much away about Liam Neeson's Henry Rawlings, but he is convincing and engaging in every part of his performance. Jon Bernthal is slowly becoming the king of appearing in small impactful roles in big ensemble movies. He has already done this in Wolf Of Wall Street, Baby Driver, Sicario and Wind River and he does it here too appearing in a small but memorable role as one of Henry's crew. Colin Farrell and Robert Duvall are great as usual here, as a believable father and son duo. Daniel Kaluuya deserves a special shout out as the movie's main antagonist. This role really gives Kaluuya a chance to flex his more cruel acting skills and show off his versatility as a performer.
The script written by McQueen and Gillian Flynn is full of razor sharp wit and electrifying moments. This is the type of golden material that most actors dream of getting to work with. The movie is shot by Sean Bobbitt who uses an array of clever camera angles and techniques to help convey the mood of each scene. Bobbit also shot Hunger, Shame and 12 Years a Slave and there is a reason that McQueen continues to use him to shoot his films. The score and audio mixing was also effective and helped to amplify the atmosphere throughout the movie.
Overall, Widows is a perfect storm of extremely high quality technical aspects and exquisite performances from an exceptionally talented ensemble of actors. If you didn't get what you wanted out of a female led heist thriller from Ocean's 8, then go out and see this masterpiece asap.
The cast are astonishing in the movie and I truly believe that is the sign of a great director getting the best out of his actors. Viola Davis is an acting powerhouse, making you want to cry one moment and then stand up and jump into battle with her the next. That woman could read the phonebook and make it sound convincingly intense. She is supported by a fantastic turn from Michelle Rodrigez, an actress who I have been a fan of for years, but can sometimes be known to come across fairly wooden. Not here, she is convincing and passionate in every scene she appears in. I also really liked seeing Elizabeth Debecki playing against type here. She is usually cast as a 'perfect,' type of character, such as Tom Hiddleston's love interest in Night Manager or as a member of the perfect alien race in Guardians of The Galaxy. Here she is a much more realistic, down to earth character. Cynthia Erivo, who came out of nowhere and blew me away in Bad Times At The El Royale, also appears here as the crew's driver and gives a genuine, energetic performance who is also the first one to stand up to Veronica's hard-ass attitude. Carrie Coon appears briefly as another widow, but her role is more of a cameo than anything else, it is still important to the story though towards the film's conclusion.
The male actors in the film are equally as brilliant as their female counterparts. I don't want to give too much away about Liam Neeson's Henry Rawlings, but he is convincing and engaging in every part of his performance. Jon Bernthal is slowly becoming the king of appearing in small impactful roles in big ensemble movies. He has already done this in Wolf Of Wall Street, Baby Driver, Sicario and Wind River and he does it here too appearing in a small but memorable role as one of Henry's crew. Colin Farrell and Robert Duvall are great as usual here, as a believable father and son duo. Daniel Kaluuya deserves a special shout out as the movie's main antagonist. This role really gives Kaluuya a chance to flex his more cruel acting skills and show off his versatility as a performer.
The script written by McQueen and Gillian Flynn is full of razor sharp wit and electrifying moments. This is the type of golden material that most actors dream of getting to work with. The movie is shot by Sean Bobbitt who uses an array of clever camera angles and techniques to help convey the mood of each scene. Bobbit also shot Hunger, Shame and 12 Years a Slave and there is a reason that McQueen continues to use him to shoot his films. The score and audio mixing was also effective and helped to amplify the atmosphere throughout the movie.
Overall, Widows is a perfect storm of extremely high quality technical aspects and exquisite performances from an exceptionally talented ensemble of actors. If you didn't get what you wanted out of a female led heist thriller from Ocean's 8, then go out and see this masterpiece asap.
Bob Mann (459 KP) rated Widows (2018) in Movies
Sep 28, 2021
Death Becomes Her.
The Plot
If you are considering “inheritence planning” there are probably a number of things you might be toying with: what happens to your house; how to best transfer your investments; who gets the dog; etc. But probably “a grudge” is not on the list. But that’s the problem faced by teacher’s union rep Veronica (Viola Davis). As you might presume from the film’s title Veronica, together with fellow widows Linda (Michelle Rodriquez), Alice (Elizabeth Debicki), Amanda (Carrie Coon), are left in a tight spot when a gang’s robbery of a local black hoodlum’s stack of cash goes badly wrong. The leader of the gang, and Veronica’s husband, is Harry Rawlings (Liam Neeson), and his certain set of skills are not enough to save him.
The victim of the robbery, Jamal Manning (Brian Tyree Henry), is running for local office in the upcoming elections against Jack Mulligan (Colin Farrell), trying to take over the role as part of a long dynasty from his grouchy father Tom (Robert Duvall). Where Jamal might be better with words, Jamal’s brother Jatemme (Daniel Kaluuya, “Get Out“) has a more physical approach to resolving issues.
What Harry has left behind for Veronica is a notebook containing the details of their next job, and Veronica gathers the female group together to carry out the raid to help save them from a “bullet in the head”.
The Review
I really enjoyed this film. It’s the ying to the yang of the disappointing “Ocean’s 8” from earlier in the year. Yes, it’s YET another film that focuses on female empowerment and with a strong black presence within the cast. But what for me made it stand out above the crowd was the quality of the writing and the assuredness of the directing.
Although based on the ancient UK TV series by Lynda La Plante, the script is written by “Gone Girl” screenwriter Gillian Flynn, and is excellent. It really doesn’t EXPLAIN what is going on, but shows you a series of interconnected scenes and lets you mentally fill in the blanks. While you don’t need to be a rocket scientist to understand the overall story arc, I must admit that even now I’m not 100% sure of some of the nuances of the story. Harry, for example, seems to be a hardened career criminal, and yet he seems to be revered by the political leaders on both sides, even though he seemed to have loyalty to noone. The script cleverly uses flashbacks and has enough twists and turns to keep you on your mental toes.
The characters also worked well for me, with each having a back story and motivations that were distinctly different from each other. Alice (helped by Debecki’s standout performance) is particularly intriguing coming out of an ‘interesting’ relationship. Is she just following the path of her unpleasant mother (Jacki Weaver)? Some of the actions might suggest so.
As for the direction, Steve McQueen (he of “12 Years a Slave“), delivers some scenes that could justly be described as “bold”. A highpoint for me was a short drive by Jack Mulligan and his PA Siobhan (an excellently underplayed Molly Kunz) from a housing project, in a neighbourhood you might worry about walking through at night, to the Mulligan mansion in a leafy and pleasant street. McQueen mounts the camera on the bonnet (hood) of the car, but you can’t see the interior other than occasional glimpses of the chauffeur. All you can hear is Mulligan’s rant to his Siobhan. I thought this worked just brilliantly well. The heist itself well done and suitably tense with an outcome that continues to surprise.
If there’s a criticism then the ending rather fizzles out, leaving a few loose ends flapping in the breeze.
Words of comfort from wannabe politician Jack Mulligan (Colin Farrell) to Veronica (Viola Davis).
The Turns
It’s only been a couple of weeks since my review of the excellent “Bad Times at the El Royale” and I named as my second film of the year for my (private) “Ensemble Cast” award. And here hot on its tail is the third. There are such strong performances across the cast that it’s difficult to pull out specifics: as you start looking at the list you pull out more and more and more names…
As referenced above, I loved Elizabeth Debecki‘s performance. Both vulnerable and strong all in one package.
Colin Farrell, for me, gives his best performance in years as the son caught within the shadow of his overpowering father. A confrontational scene between Farrell and Robert Duvall is particularly powerful.
Daniel Kaluuya is truly threatening (possibly slightly OTT) as the psycho fixer.
For the second time in a month Cynthia Erivo stands out as a major acting force, as the hairstylist cum gang member Belle.
Jon Michael Hill, excellent as a fire-breathing reverend with flexible political views.
It would not surprise me to see Best Supporting Actor nods for any combinations of Debecki, Farrell, Kaluuya and Erivo for this.
I must admit that I’m not the greatest fan of Viola Davis: I find her performances quite mannered. But there’s no doubting here the depth of her passion and with this lead performance she carries this film.
Final Thoughts
I loved this as an intelligent action movie that’s a cut above the rest. Which is a surprise, since from the trailer I thought it looked good but not THAT good! It comes with my recommendation for an exciting and gripping two hours at the cinema. I’m rather caught between two ratings on this one, and if I still had half stars to use I would use it. But as I found this one of the most engrossing films of the year I’ll give it full marks.
If you are considering “inheritence planning” there are probably a number of things you might be toying with: what happens to your house; how to best transfer your investments; who gets the dog; etc. But probably “a grudge” is not on the list. But that’s the problem faced by teacher’s union rep Veronica (Viola Davis). As you might presume from the film’s title Veronica, together with fellow widows Linda (Michelle Rodriquez), Alice (Elizabeth Debicki), Amanda (Carrie Coon), are left in a tight spot when a gang’s robbery of a local black hoodlum’s stack of cash goes badly wrong. The leader of the gang, and Veronica’s husband, is Harry Rawlings (Liam Neeson), and his certain set of skills are not enough to save him.
The victim of the robbery, Jamal Manning (Brian Tyree Henry), is running for local office in the upcoming elections against Jack Mulligan (Colin Farrell), trying to take over the role as part of a long dynasty from his grouchy father Tom (Robert Duvall). Where Jamal might be better with words, Jamal’s brother Jatemme (Daniel Kaluuya, “Get Out“) has a more physical approach to resolving issues.
What Harry has left behind for Veronica is a notebook containing the details of their next job, and Veronica gathers the female group together to carry out the raid to help save them from a “bullet in the head”.
The Review
I really enjoyed this film. It’s the ying to the yang of the disappointing “Ocean’s 8” from earlier in the year. Yes, it’s YET another film that focuses on female empowerment and with a strong black presence within the cast. But what for me made it stand out above the crowd was the quality of the writing and the assuredness of the directing.
Although based on the ancient UK TV series by Lynda La Plante, the script is written by “Gone Girl” screenwriter Gillian Flynn, and is excellent. It really doesn’t EXPLAIN what is going on, but shows you a series of interconnected scenes and lets you mentally fill in the blanks. While you don’t need to be a rocket scientist to understand the overall story arc, I must admit that even now I’m not 100% sure of some of the nuances of the story. Harry, for example, seems to be a hardened career criminal, and yet he seems to be revered by the political leaders on both sides, even though he seemed to have loyalty to noone. The script cleverly uses flashbacks and has enough twists and turns to keep you on your mental toes.
The characters also worked well for me, with each having a back story and motivations that were distinctly different from each other. Alice (helped by Debecki’s standout performance) is particularly intriguing coming out of an ‘interesting’ relationship. Is she just following the path of her unpleasant mother (Jacki Weaver)? Some of the actions might suggest so.
As for the direction, Steve McQueen (he of “12 Years a Slave“), delivers some scenes that could justly be described as “bold”. A highpoint for me was a short drive by Jack Mulligan and his PA Siobhan (an excellently underplayed Molly Kunz) from a housing project, in a neighbourhood you might worry about walking through at night, to the Mulligan mansion in a leafy and pleasant street. McQueen mounts the camera on the bonnet (hood) of the car, but you can’t see the interior other than occasional glimpses of the chauffeur. All you can hear is Mulligan’s rant to his Siobhan. I thought this worked just brilliantly well. The heist itself well done and suitably tense with an outcome that continues to surprise.
If there’s a criticism then the ending rather fizzles out, leaving a few loose ends flapping in the breeze.
Words of comfort from wannabe politician Jack Mulligan (Colin Farrell) to Veronica (Viola Davis).
The Turns
It’s only been a couple of weeks since my review of the excellent “Bad Times at the El Royale” and I named as my second film of the year for my (private) “Ensemble Cast” award. And here hot on its tail is the third. There are such strong performances across the cast that it’s difficult to pull out specifics: as you start looking at the list you pull out more and more and more names…
As referenced above, I loved Elizabeth Debecki‘s performance. Both vulnerable and strong all in one package.
Colin Farrell, for me, gives his best performance in years as the son caught within the shadow of his overpowering father. A confrontational scene between Farrell and Robert Duvall is particularly powerful.
Daniel Kaluuya is truly threatening (possibly slightly OTT) as the psycho fixer.
For the second time in a month Cynthia Erivo stands out as a major acting force, as the hairstylist cum gang member Belle.
Jon Michael Hill, excellent as a fire-breathing reverend with flexible political views.
It would not surprise me to see Best Supporting Actor nods for any combinations of Debecki, Farrell, Kaluuya and Erivo for this.
I must admit that I’m not the greatest fan of Viola Davis: I find her performances quite mannered. But there’s no doubting here the depth of her passion and with this lead performance she carries this film.
Final Thoughts
I loved this as an intelligent action movie that’s a cut above the rest. Which is a surprise, since from the trailer I thought it looked good but not THAT good! It comes with my recommendation for an exciting and gripping two hours at the cinema. I’m rather caught between two ratings on this one, and if I still had half stars to use I would use it. But as I found this one of the most engrossing films of the year I’ll give it full marks.
BankofMarquis (1832 KP) rated Widows (2018) in Movies
Nov 17, 2018
Well crafted, well acted, well directed heist flick
If you are looking for a smart, intelligent, well-made, well-crafted, well-acted action-heist flick to see with the family over the Thanksgiving weekend, then look no further than WIDOWS.
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated Sex and the City 2 (2010) in Movies
Aug 8, 2019
So what happens after you finally marry Mr. Right (or in this case, Mr. Big)? Carrie (Sarah Jessica Parker) and Big (Chris Noth) have been married for almost 2 years now and are in danger of falling into a tired routine. After eschewing the latest fashions for classic furnishings to make their new flat a home, Carrie no longer laments over her singlehood. Instead she bemoans becoming part of an old, married couple. She bristles at the idea of staying home and eating takeout while her husband just wants to put his feet up on the couch.
Charlotte (Kristin Davis) remains the picture-perfect mother and wife, adding a new baby to her home. One that cries constantly and forces her to hire a nanny. A buxom, Irish nanny named Erin who quickly earns the fitting nickname “Erin Go Bra-less” from Charlotte’s best friends. Watch Charlotte’s cheery smile become brittle and harder to keep in place as the demands of motherhood and doubts the ability of her husband Harry (Evan Handler) to resist temptation become too much to handle.
Miranda (Cynthia Nixon) is reconciled with Steve (David Eigenberg), and is finally a partner at her law firm but it hasn’t brought her the satisfaction she thought it would. She’s stressed and aggravated by a senior partner who demeans her and she starts to question whether being an attorney is worth it anymore.
Samantha (Kim Cattrall) is very much the same bawdy temptress, minus her boy-toy, plus a lot of vitamins to stave off menopausal symptoms. This time around, no major drama sends the ladies off on an exotic trip, just Samantha working her public relations charm on a shiekh with a palatial hotel. Apparently, sometimes girls just need to getaway to Abu-Dhabi. The movie soon becomes an indulgent showcase of excess from a flight in a plane equipped with individual suites, a bar & lounge, to a Maybach and a personal butler for each of the ladies.
Anyone watching SATC2 without the background of the series and the first film will think they entered an alien world of shallow, whiny women who like to wear clashing colors and ridiculous hats. Fans of the series will probably forgive the tired puns and trite storylines to embrace the familiar: four friends in fabulous, outrageous, fashion and comical situations, with an extravagant, lush backdrop.
Screened in a theater where women outnumbered men 3 to 1, many of the laughs were tinged with almost as much horror as delight. I usually enjoy musical numbers in movies, but I fought the urge to cover my eyes when Liza Minelli performed Beyonce’s “Single Ladies” at a wedding early in the movie. The girlfriends’ karaoke rendition of “I Am Woman” was also an uncomfortable moment for all its corniness. But amidst the splashy abundance, there were moments of honest friendship that resonated, unfortunately they’re overshadowed by annoying antics and reckless decisions.
Sure to spark lively debates on friendship, relationships, careers, and questionable fashion, this is still an entertaining film that, if nothing else, would make a great date night movie with your girlfriends. Especially those whose friendships have spanned decades and who can recognize a little bit of themselves in these women. Note to men: if you want to know where the women may be this weekend, the theaters would be a good bet.
Charlotte (Kristin Davis) remains the picture-perfect mother and wife, adding a new baby to her home. One that cries constantly and forces her to hire a nanny. A buxom, Irish nanny named Erin who quickly earns the fitting nickname “Erin Go Bra-less” from Charlotte’s best friends. Watch Charlotte’s cheery smile become brittle and harder to keep in place as the demands of motherhood and doubts the ability of her husband Harry (Evan Handler) to resist temptation become too much to handle.
Miranda (Cynthia Nixon) is reconciled with Steve (David Eigenberg), and is finally a partner at her law firm but it hasn’t brought her the satisfaction she thought it would. She’s stressed and aggravated by a senior partner who demeans her and she starts to question whether being an attorney is worth it anymore.
Samantha (Kim Cattrall) is very much the same bawdy temptress, minus her boy-toy, plus a lot of vitamins to stave off menopausal symptoms. This time around, no major drama sends the ladies off on an exotic trip, just Samantha working her public relations charm on a shiekh with a palatial hotel. Apparently, sometimes girls just need to getaway to Abu-Dhabi. The movie soon becomes an indulgent showcase of excess from a flight in a plane equipped with individual suites, a bar & lounge, to a Maybach and a personal butler for each of the ladies.
Anyone watching SATC2 without the background of the series and the first film will think they entered an alien world of shallow, whiny women who like to wear clashing colors and ridiculous hats. Fans of the series will probably forgive the tired puns and trite storylines to embrace the familiar: four friends in fabulous, outrageous, fashion and comical situations, with an extravagant, lush backdrop.
Screened in a theater where women outnumbered men 3 to 1, many of the laughs were tinged with almost as much horror as delight. I usually enjoy musical numbers in movies, but I fought the urge to cover my eyes when Liza Minelli performed Beyonce’s “Single Ladies” at a wedding early in the movie. The girlfriends’ karaoke rendition of “I Am Woman” was also an uncomfortable moment for all its corniness. But amidst the splashy abundance, there were moments of honest friendship that resonated, unfortunately they’re overshadowed by annoying antics and reckless decisions.
Sure to spark lively debates on friendship, relationships, careers, and questionable fashion, this is still an entertaining film that, if nothing else, would make a great date night movie with your girlfriends. Especially those whose friendships have spanned decades and who can recognize a little bit of themselves in these women. Note to men: if you want to know where the women may be this weekend, the theaters would be a good bet.