Widows, directed by Steve McQueen (12 Years a Slave, Shame), is about three women who are forced to pay back the debts of their criminal husbands after they’re killed during a botched heist.
This is a mostly plot-driven film, interested less in character than in the machinations of its crime thriller genre. McQueen attempts to imbue the film with ideas and emotions more high-minded, but it gets caught in a tedious middle-ground of conflicting intentions.
It’s setting being the crime-filled Chicago (or ‘Chi-raq’) is hardly incidental. McQueen frames the film’s developments around an impending local election which sheds light on the city’s institutional racism and corruption. This, unfortunately, is never more than obvious in its exploration. For a filmmaker who’s often been so uncompromising with the ideas he’s working with, his approach at points feels shockingly paint-by-numbers.
The film is bristling with notable talent – perhaps too much (Viola Davis, Liam Neeson, Robert Duvall, Colin Farrell and Jackie Weaver round out a stacked cast). Even bit parts here are played by actors you wish were more anonymous. Its biggest issue lies right here: there’s so many recognisable faces that it’s hard to experience any kind of immersion in this world. Colin Farrell, for instance, is cast in a role that requires him to sport a thick Chicagoan accent (which, for me, bordered on parody). It’s hard to understand why an Irishman was cast in a role that would’ve been more seamlessly filled by an American actor.
Ultimately, Widows feels like the product of an artist trying to bridge his sensibilities with something decidedly more mainstream. The result is a curious hybrid of genre filmmaking and social commentary that’s not very successful in either respect.
David is a 30-something public servant utterly discontent with the state of the world as well as himself, and his ramblings reveal truths both witty and depressing.
Theatresports: Clash of The Theatre Titans is a clever, comedic, and competitive combination of theatre and stand-up - the family-friendly, fun Sunday arvo show you’ve been looking for!
The Choir of Man is truly a celebration of the comradery, comedy, and choreographic and choral talents of men.
We watched the premiere, and evidently final showing of ‘You’re the reason our kids are so ugly’; a show that is different every time you see it, filled with comedic flair and amazing wit.
Naked Truth is not by any means a show for perves or prudes, but for those open-minded, respectful Fringe-goers looking for something unique, intimate, and if approached correctly, cathartic experience.
Self proclaimed ‘part double act, part film lecture’ Love/Hate Actually is a well considered and delivered comedy show(down) about the beloved British blockbuster.
After selling out their 2018 Adelaide Fringe season, The Ukelele Death Squad return with three curated shows for the 2019 Adelaide Fringe as well as an appearance at WOMADelaide 2019.
The Fringe Wives Club are so high energy, it’s contagious. They’re masters of this craft, so talented and expressive.
Kevin Quantum toes the line between science and magic. He risks life and limb for the cause, and it’s worth a watch.
“New vision, new location”, this is what organisers have in mind for this year’s RCC.