--- title: "Widows" year: 2018 kind: "film" canonical: "https://film.one/film/widows" fi1m_score: 83 critics_score: 80 critics_reviews: 26 published: "2026-09-17T09:04:42.149966+00:00" updated: "2026-09-17T09:04:42.521509+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Widows (2018) Directed by Steve McQueen · 2h 09m · MPA R · Drama, Crime, Thriller **Fi1m score: 83** · Critics 80 from 26 reviews *In a sentence:* The women have a robbery to organise; the men have an entire city to answer for > *Widows* is a tense, adult heist thriller carried by Viola Davis and a strong ensemble. The plotting sometimes asks for too much belief, but the grief and anger need no assistance. ## Synopsis In contemporary Chicago, Veronica Rawlings (Viola Davis) is grieving and looking for a way forward. Linda (Michelle Rodriguez) and Alice (Elizabeth Debicki) join her in preparing a robbery. Alice is accustomed to being pushed around; Veronica Rawlings intends to take charge. They have to learn to work as a crew while coping with losses that make the risks harder to bear. Their preparations take place amid political corruption and divisions of race and wealth. The women want some control over what happens to them next, but the city’s existing arrangements give them little. ## Review Steve McQueen’s *Widows* is a gripping heist thriller with one substantial reservation: the plot sometimes demands a belief its careful performances have not prepared us to give. The women at its centre are driven by grief and desperation, and the proposed robbery never feels like an excuse for them to acquire glamorous new personalities. Steve McQueen takes their fear seriously. He also remembers that a crime film ought to make us want to know what happens next. Viola Davis gives the film its authority. As Veronica Rawlings, she makes determination look difficult, something that must be maintained while grief keeps interrupting it. Sean Bobbitt’s photography is especially effective when the camera stays with her face, allowing us to register what she cannot comfortably say. We were moved by those held looks: the effort of remaining composed is visible, and the film gives it time. There is no need to hurry her towards the next piece of criminal business. Elizabeth Debicki’s Alice is just as carefully judged, beginning from the habits of someone accustomed to giving way. The performance makes us attend to her uncertainty, so that the prospect of her taking responsibility has weight. Michelle Rodriguez helps keep the group from feeling like a collection of star entrances; we believe these women have immediate practical worries. Cynthia Erivo strengthens an ensemble whose differences in temperament make the preparations worth watching. Getting these people to work together is interesting before we reach the question of what they might steal. Chicago matters because the robbery sits among other, more respectable ways of getting power and money. Adam Stockhausen’s production design makes the differences in wealth easy to read, giving the political material something concrete to work with. The attention to race and corruption broadens our understanding of the pressures on the women without making their own difficulties seem small. Daniel Kaluuya adds a particular unease to the surrounding menace. His performance makes the threat feel immediate even when the plotting grows elaborate. Joe Walker’s editing keeps a crowded story intelligible, and the robbery preparations move briskly without making the women’s uncertainty seem foolish. Hans Zimmer’s music reinforces the stern mood, giving the suspense a steadiness that suits the performances. The film does not keep congratulating its characters for attempting something difficult, and that restraint makes their competence more satisfying. We can enjoy the practical business while remaining aware of the pressure that has brought them to it. Steve McQueen and Gillian Flynn’s screenplay occasionally lets its appetite for surprise get ahead of its care for motivation. We can accept a complicated scheme in a heist film, but we still need to believe that these particular people would make these particular decisions. There are stretches when the next surprise seems to have been secured before the motivation was checked. That matters because the performances have persuaded us to take the women’s circumstances seriously. The film earns its seriousness through that attention to people, and it delivers enough suspense to justify the criminal machinery around them. Viola Davis remains compelling whenever the writing threatens to make a character explain too much. At 129 minutes, it asks for concentration and mostly rewards it. Give it your attention, but do not expect every turn of the plot to survive questioning. *Fi1m score 83, published 17 September 2026.* ## What the critics say Most critics welcome Widows as an intelligent, involving heist thriller, praising Steve McQueen’s handling of suspense alongside Chicago politics and questions of race, class and gender. Viola Davis draws the most consistent praise for conveying grief, resolve and vulnerability, while Elizabeth Debicki and Daniel Kaluuya also attract attention within a widely admired ensemble. The reviews largely find that the social detail and character work give the crime story weight without slowing its momentum. The spread runs from enthusiastic approval to two mixed responses, with no outright negative reviews. Reservations centre on strained plotting, uneven character development and how comfortably the serious themes sit within the heist format. Film Comment admires the cast and visuals but finds the narrative logic frustrating; The Wrap shares the praise for Davis yet finds the pace sluggish and the genre elements ill-fitting. Even some favourable reviews acknowledge gaps in plausibility. ### Reviews we read (26) - **Time Out**, Joshua Rothkopf (5/5): The critic calls Widows a supercharged Chicago-set caper of consummate skill that reminds viewers how entertaining crime movies can be. They single out the three lead women's transformation into a hard-nosed heist crew as the year's most pleasurable piece of character work. [Read](https://www.timeout.com/movies/widows) - **Los Angeles Times**, Justin Chang (90/100, inferred): McQueen turns a B-movie heist template into smart social realism with political astuteness and superb performances. The film stands out for integrating anxieties about race, class, gender, and privilege without feeling like escapism. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-widows-review-20181113-story.html) - **The Guardian**, Peter Bradshaw (90/100, inferred): McQueen delivers an empowering, electrifying thriller with a dream cast led by Viola Davis. It seamlessly intertwines character studies, politics and reimagined heist elements in a modern tale of class, race and gender. [Read](https://www.theguardian.com/film/2018/nov/04/widows-review-steve-mcqueen-viola-davis-heist-thriller-lynda-la-plante) - **Evening Standard**, Charlotte O'Sullivan (85/100, inferred): The critic praises Steve McQueen for delivering a sophisticated, exciting and socially aware heist thriller that expands on the original TV series with sharp commentary on race, gender and corruption in Chicago. Viola Davis's layered central performance is singled out as exceptional, particularly in conveying grief and resilience without words. [Read](https://www.standard.co.uk/culture/film/widows-review-steve-mcqueen-pulls-off-one-hell-of-a-job-with-this-heist-thriller-a3978726.html) - **Sight and Sound**, Pamela Hutchinson (85/100, inferred): The critic hails McQueen's slick, intelligent blockbuster as an adult heist thriller with razzle-dazzle plotting and emotional heft. They single out Viola Davis's sophisticated performance and the camera's lingering on her face as one of the film's greatest pleasures. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-widows-takes-heist-thriller-spectacular-ride) - **Empire**, John Nugent (80/100, inferred): The critic calls the film a successful blend of prestige cinema and multiplex entertainment, commending McQueen's confident direction, the strong ensemble cast and its blend of thrilling action with political themes about inequality and power in America. Viola Davis is highlighted as the standout for her mix of vulnerability and toughness. [Read](https://www.empireonline.com/movies/reviews/widows-review/) - **Little White Lies**, Hannah Strong (4/4/4): The critic commends McQueen for delivering a taut crime drama with exceptional twists that also comments on gender and racial imbalance. They single out Elizabeth Debicki's transformation from submissive waif to resourceful figure as particularly bewitching. [Read](https://lwlies.com/reviews/widows) - **Radio Times**, Trevor Johnston (★★★★): The critic praises the film as an accessible, slick commercial offering that delivers unexpected food for thought alongside genre-savvy twists and suspense. They single out Viola Davis's determined intensity and soulful humanity as powering the movie. [Read](https://www.radiotimes.com/movies/widows-review-delivers-food-for-thought-and-genre-savvy-twists/) - **Screen Daily** (80/100, inferred): The critic finds Widows an intelligent, entertaining drama that empowers multi-racial female casting in a big-budget thriller. They single out the strong, real and capable women at its centre as a key strength. [Read](https://www.screendaily.com/reviews/widows-toronto-review/5132470.article) - **Slant Magazine**, Jake Cole (70/100, inferred): Widows is McQueen’s most fascinating, bracing feature to date, a demonstration of embracing commercial instincts while exploring subtext with depth and giving a holistic portrait of social context. The rich characterizations and visual precision stand out amid some shortchanged commentary. [Read](https://www.slantmagazine.com/film/widows/) - **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): The film is a solid piece of genre fiction made more resonant by its characters and sociological implications, electrified by racial, political and gender issues. McQueen loads nearly every scene with incident and import while delivering kinetic goods. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/widows-review-1141429/) - **The New Yorker**, Anthony Lane (70/100, inferred): The thriller is fractious and riven with grief, yet retains a clear-eyed view of American power and transactions. Strong cast, led by Viola Davis, carries the film despite logical gaps and its downbeat tone. [Read](https://www.newyorker.com/magazine/2018/11/19/the-fractious-frustrating-thrills-of-widows) - **The New York Times**, A.O. Scott (70/100, inferred): The film is a somber heist thriller driven by grief and desperation rather than typical motives. Viola Davis commands the screen as the lead widow navigating loss and crime. [Read](https://www.nytimes.com/2018/11/15/movies/widows-review.html) - **Film Comment**, Jonathan Romney (50/100, inferred): The critic finds it a dazzling but immensely frustrating film that gestures at brilliance but strains plausibility; praises the cast, visuals, and social grounding but complains about narrative logic and character development. [Read](https://www.filmcomment.com/film-week-widows/) - **HeyUGuys**, Linda Marric (5/5): McQueen delivers a stunning and impressively ballsy thriller that proves he can excel in the mainstream heist genre. The standout is Viola Davis's towering performance as the calculating widow Veronica. [Read](https://www.heyuguys.com/widows-review/) - **Paste**, Tim Grierson (9.4/10): McQueen's Widows is a mature, exciting, and engrossing heist film that avoids condescension or draining the material of vibrancy. The critic singles out the film's clear-eyed character work, menacing tone, and stellar ensemble including Viola Davis and Daniel Kaluuya. [Read](https://www.pastemagazine.com/movies/widows/widows) - **Collider**, Adam Chitwood (A-): The critic praises McQueen for delivering a crackling, entertaining heist thriller that balances popcorn thrills with meaty themes and strong visuals. Standout performances from the female ensemble, especially Viola Davis, and supporting turns like Daniel Kaluuya are highlighted as key strengths. [Read](https://collider.com/widows-review-viola-davis/) - **Polygon**, Matt Patches (90/100, inferred): Widows is a perfectly calibrated thriller that joins the canon of great heist movies like Heat through its blend of plot ingenuity, social commentary, and standout performances. The critic highlights the script's twists and the way it delivers satisfaction while remaining a crowd-pleaser. [Read](https://www.polygon.com/2018/11/20/18103403/widows-review-best-heist-movies/) - **The Ringer**, Alison Herman (85/100, inferred): Widows is an exhilarating film that uses its female ensemble to explore identity, race, and power in a thoughtful way beyond typical genre tropes. The critic praises the integration of Chicago politics and the strong performances that make the gender-reversed heist concept feel fresh and substantive. [Read](https://www.theringer.com/2018/11/16/movies/widows-female-cast-viola-davis-michelle-rodriguez-cynthia-erivo-elizabeth-debicki) - **Deadline**, Pete Hammond (80/100, inferred): The critic calls it a gripping heist movie and sensational thriller with a social twist, loaded with action and high drama from a superb ensemble cast led by Viola Davis. McQueen succeeds in blending genre thrills with his distinctive style and serious themes of race, class and injustice. [Read](https://deadline.com/video/widows-review-viola-davis-steve-mcqueen-michelle-rodriguez-elizabeth-debicki/) - **Den of Geek**, David Crow (4/5): Praises the film's brutal authenticity, terrific performances (esp. Davis), and thematic depth on social issues, while noting some third-act strains in credibility. [Read](https://www.denofgeek.com/movies/widows-review/) - **Eye for Film**, Amber Wilkinson (80/100, inferred): McQueen crafts a gritty, gripping heist film far more interested in substance than the glossy surfaces of typical entries in the genre. The top-notch cast, led by Viola Davis's steely brilliance, grounds the story in lived-in reality while tackling themes of race, class, and corruption. [Read](http://www.eyeforfilm.co.uk/review/widows-2018-film-review-by-amber-wilkinson) - **/Film** (8/10): Steve McQueen and Gillian Flynn deliver an exciting, brilliantly acted thriller that is a gem with more on its mind than a standard heist film. The film stands out for its emotional depth, strong female ensemble, and satisfying empowerment in the finale. [Read](https://www.slashfilm.com/560864/widows-review/) - **The Skinny**, Caitlin Quinlan (4/5): Highly positive on the polished heist, ensemble cast (esp. Davis, Debicki, Kaluuya), balance of thriller and social commentary. [Read](https://www.theskinny.co.uk/film/new-releases/widows-review-tiff-2018) - **The Playlist**, The Playlist (B): McQueen's stylish thriller is a good film that often reaches for greatness with its strong cast and heist plotting but feels like it could have been more. The screenplay checks the genre boxes effectively while weaving in social commentary, though it occasionally prioritizes thrills over deeper character clarity. [Read](https://theplaylist.net/widows-viola-davis-review-20180909/) - **The Wrap**, Steve Pond (50/100, inferred): The critic views it as a curious heist movie where McQueen focuses more on obsessions, desperation and corruption than on the intricacies of the robbery plot, resulting in a polished but slogging action film. Strong performances from the cast, especially Viola Davis, provide power and drama but the genre elements feel ill-fitting. [Read](https://www.thewrap.com/widows-film-review-viola-davis-steve-mcqueen-heist-movie/) ## Details - **Director:** Steve McQueen - **Director:** Steve McQueen - **Screenplay:** Steve McQueen, Gillian Flynn - **Cinematography:** Sean Bobbitt - **Editor:** Joe Walker - **Music:** Hans Zimmer - **Production design:** Adam Stockhausen - **Costume design:** Jenny Eagan - **Producer:** Arnon Milchan, Iain Canning, Emile Sherman - **Cast:** Viola Davis as Veronica Rawlings; Michelle Rodriguez as Linda; Elizabeth Debicki as Alice; Cynthia Erivo as Belle; Colin Farrell as Jack Mulligan; Robert Duvall as Tom Mulligan; Liam Neeson as Harry Rawlings; Brian Tyree Henry as Jamal Manning - **Runtime:** 2h 09m - **Certificate (MPA):** R - **Release (the US):** 16 November 2018 - **Genres:** Drama, Crime, Thriller - **Budget:** $42 million - **Box office:** $76 million - **Trailer:** https://www.youtube.com/watch?v=nN2yBBSRC78 ## Where to watch in the US - Amazon Prime Video: rent $3.99, uhd - Apple TV: rent $4.99, hd - Amazon Prime Video: buy $4.99, uhd - Apple TV: buy $4.99, hd *Checked 2026-09-17.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HU, IE, IL, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, SE, TR, UA, US, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Set It Off* (1996): Another female crew whose robbery grows out of pressures the men underestimate. - *Rififi* (1955): Patient criminal preparation, with human weakness waiting to undo the careful work. - *The Long Good Friday* (1980), Fi1m 88: Crime and political ambition share an address, with little room for reassurance. — [Fi1m page](https://film.one/film/the-long-good-friday.md) - *The Headless Woman* (2008): Class privilege makes everyday behaviour disturbing in this patient Argentine drama. - *A Simple Plan* (1998), Fi1m 86: An opportunity for money makes ordinary people frighteningly inventive about their mistakes. — [Fi1m page](https://film.one/film/a-simple-plan.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/widows