One thing’s for sure: Widows is more than a mere popcorn thriller. But it also doesn’t deny the popcorn thrills, either. It simultaneously denies the traditional rules of the genre while embracing them, giving it an air of familiarity and the feeling of something new and exciting.

McQueen takes bold risks, and more often than not, they payoff. Some of his choices may seem odd at first glance (like the one shot car ride with the camera lingering on the outside of the vehicle while the conversation happening in interior cuts through), but there is logic and motivation underneath it all. He places his unique touch all over the film, which gives it an immense charge, but he’s at peak form in the film’s many long takes (my personal favorite involves Daniel Kaluuya in a gymnasium).

McQueen and Flynn don’t glamourize heists or criminals, but they use them as a means to make socially relevant statements that make Widows an absolute breath of fresh air, especially in a genre that doesn’t generally aspire to say much. Subtly among them are the insecurities of interracial couples, which is an aspect I don’t think I’ve ever seen covered in a film of this genre. There is also a looming presence of parents controlling their adult children, which shines through in both Collin Farrell’s and Elizabeth Debicki’s characters, adding an interesting layer that doesn’t exactly swing full circle.