Black Widow film review

It’s been a while. My first cinema trip of 2021 is to see a film completed nearly two years ago. During the past sixteen months the entire rhythm of the Marvel Cinematic Universe has been disrupted to some extent and the real question I asked myself before seeing Black Widow was this- would this sort of film be as enjoyable now we’ve lived through a proper worldwide crisis for the first time in most of our lives? Do we want kinetic violence, things exploding, peril and potential world threatening events? Turns out we do! Black Widow is a good re-introduction to this type of cinema especially for those like me who’ve not seen the recent Marvel tv series. It’s a very well composed movie with those individualistic flourishes that Marvel do so well so as to differentiate each branch of the franchise. There is the expected peril- and its definitely not mild- the heart pulsing action scenes and plenty of tech yet crucially the film has a heart that makes it worth your while. And you can take your facemask off too which allows you to breathe more easily during some palpating moments!

 

Warning- Major spoilers beyond this point.

Opening with a lengthy flashback to Natasha Romanoff’s seemingly idyllic childhood a serene opening soon starts to gather steam as the apparently normal average family have to flee their home suddenly. The parents still try to maintain an outward decorum suggesting this is an adventure and getting everyone to sing along to `American Pie` but when it turns out they’re headed for an airplane pursued by gun toting Federal agents its clear this is no average family picnic. Cue a montage of some horrible childhood traumas at the hands of the agents Natasha and sister Yelena have been left with that makes it clear they have been programmed and trained as Black Widows; female assassins devoid of personality (and other things as we later learn in a shock moment). We’re soon in the not quite present day, just after Captain America Civil War so theoretically 2016 though Marvel are never too clear about datelines. Yelena has been de-programmed and soon joins her sister, already a fugitive after the events of Civil War. The two seek the Red Room, the secretive location of their childhood indoctrination.

While essentially the film is one long chase sequence it is peppered with superbly staged action scenes each a stand out, each managing to wring something new out of what should by now be a worn out scenario. Alongside some great scenery (film locations include Norway and Morocco) the movie sometimes feels similar to a James Bond or Mission Impossible caper with our heroines escaping jeopardy at the very last second before moving on to another locale. Natasha and Yelena though, despite all their high kicking abilities, the match of any man who tries to stop them, are a little more interesting than 007. Not really sisters whose lovely early childhood was created by two people who were not their parents, the duo have to piece together a weird bond while also seeking out their ersatz mother and father for a reckoning.

So for all the fiery action the film’s most fulfilling scenes come in a ramshackle country house when the `family` is back together. This extended halt to the action allows the film a realistic edge it needs at this stage. They manage to incorporate exposition and explanation while showing us the hurt of both women over what has happened to them and the guilt that their `parents` feel. Then there is Natasha’s own guilt over some of the things she has done. Not that this is as sombre a film as you’d imagine. There’s plenty of lighter material not least Yelena taking the rise out of Natasha’s `hero` stance and the comedic donning of his old superhero suit by Alexei determined it will still fit.

As the two conflicted pretend sisters both Scarlett Johansson and Florence Pugh share plenty of banter as well as arguments, both actors showing the hurt they feel as a mutual respect starts to develop. Scarlett Johansson brings a contained, taut performance that is almost Bondian in it’s focus. Florence Pugh makes Yelena a sullen sarcastic joy. As Alexei David Harbour is almost unrecognisable when we meet him twenty years after the prologue and his performance is comedic and very loud.  Rachel Weisz has a difficult role in that Melina is presented as a cold distant figure but there are some interesting turns later on. As the chief antagonist Ray Winstone is only glimpsed until near the end where he lets loose his formidable presence though his character is underdeveloped.

Visually the film tries not to overplay the CGI so earns its typically OTT ending in and around a villain’s lair in the clouds. Before that though there is much clanking of metal and close quarters action in small rooms or narrow streets while sequences on a bridge, in a remote prison and in central Budapest are thrillingly staged and shot by director Cate Shortland who also ensures the human side of these conflicted people is kept to the fore. Definitely worth returning to the cinema for, Black Widow is a strong addition to this seemingly limitless film series.