Steve McQueen does not think his audience is stupid. 

In fact, the dude gives his audience great credit. He does not invest much in exposition. He trusts that you will do some of the lifting in his attempt to deliver a story, and he does this like few directors can. 

For instance: There is a scene in McQueen’s heist caper movie Widows that is so smart and so laden with story detail and, simultaneously, social commentary that it has more potency per tablespoon than cinnamon. And it just involves this car driving while two people sit inside the car and argue. 

When the scene begins, it’s weird because the camera is kept outside of the car the whole time, mainly shooting the landscape of some city blocks over the driver’s part of the windshield. The shot lasts long enough that you become conscious of it and begin to wonder why the director is doing it. 

And then you realize why, and it is an astonishing realization. Because it tells you everything you need to know about the politician inside the car, of his likely expected entitlement, of his legacy, of the distance he can set between him and his constituency and still expect to be elected. That scene delivers the essence of Jack Mulligan’s character, and in fact explains the larger political context generally, and it does not draw a diagram for you to get there. 

And while a heist film like Ocean’s Eight earlier this year was marketed as “hey this is like the Ocean’s movies, but with broads, isn’t that great and progressive and shit?” all that movie did was make a heist movie that was about the heist and replaced the dudes with women. Widows is not about the heist. It’s about the characters, specifically, Veronica, Linda, Alice, and, later, Belle. Their motivations are more urgent than those of Deb Ocean’s petty little revenge quest:  As widows of thieves, they are being pinched by some bad hambres for the money. And these characters, and these actors who play them, they rise to that challenge. 

McQueen’s pacing is dangerous, but effective, as it was in 12 Years a Slave. His story (or perhaps the story of Jayhawk and co-writer here Gillian Flynn) forges the most unlikely of alliances or, perhaps, friendships. And this heist film is not about the heist–in fact, were it not for a few twists at the end there, the heist itself would seem anticlimactic. This is, in my opinion, a feature, not a bug, in the movie Widows. 

So this ain’t your normal heist flick. What it is, kids, is what an artist does. Happy little clouds. All struck up on the canvas that moves. What a perfect movie. 

In Other News

• Aaron found the “drop cap” button.

If you like joy, you should go see the film Bohemian Rhapsody in the movie theater. Likewise, if you like masterful acting. Or music. Or Queen. Or if you remember what you were doing when you witnessed Live Aid. Or, if you’d just like to see a really great movie.

Bohemian Rhapsody, the film, will satisfy all of these checkboxes, and more. It is, certainly, the best film I have seen this year and the best I expect to see. It is my favorite cinema experience since the brilliant Dunkirk.

I ain’t the only one. While the thing currently has a score of 64 on Rotten Tomatoes, it has a 94 audience score there. Critics are enjoying dissecting this movie, but audiences are simply * enjoying * this movie.

Yeah, but they got stuff wrong, critics are saying. Freddie didn’t have the studly mustache look until 198x, they says. They didn’t have to coax Geldhoff into them doing Live Aid, he had to coax them, and it wasn’t because of that, it was because of this, they says. And how about that stuff where Princess Leia floats through space like Mary Poppins, they says.

Blah, blah, blah, blah.

Rami Malek is reason enough to see this thing. It’s like he invites Freddy Mercury to live in him for a while. If he isn’t holding at least one tall bald trophy sometime next year for this, I’ll be more surprised than I was on Nov. 8, 2016.

The best of this movie is its ending, which is essentially a strut-by-strut re-enactment of the band’s Live Aid performance. This is some of the best faux rock performance footage since Purple Rain. Val Kilmer was a good Jim Morrison, but this kid from Mr. Robot is a great Freddy Mercury, accurate down to the hair on his forearms.

Holy crap I may just have to start watching Mr. Robot.

Among pop-music-group-bipopics, this is the best I have ever seen. Does it contain ever dull pop-music-group-biopic trope? Oh, yes. But it does ever single one better than any other. I say they might as well stop making pop-music-group-biopics now. (Sorry, Michael Hutchence.)

It doesn’t hurt that the source material is Freddy Mercury, one of the most powerful presences ever in rock-n-roll, and Queen generally, one of the most bodacious bands in rock-n-roll. I remember the first time I heard “We Will Rock You.”

Do you?

If you do, it was probably one of those moments, like the first time a girl blows in your ear, or your first gyro, but like, louder and with harmony. I mean, all it is is a powerful stomping percussion with a choir and a fantastic guitar solo. This was a less-is-more first I think that was later extrapolated buy guys like Prince (see “Kiss”).

For me, Queen was one of those musical revelations that kneaded my brain at a formative age. One of the first. One of many to follow.

And many reviews have somehow taken exception with how the film handles Freddy’s (homo)sexuality. How would they like the movie to portray this? Freddy was out and FABULOUS? He wasn’t. He couldn’t be. He lived under the same oppressive nonsense that made millions of others just as isolated as he was, an isolation that ended up drowning him to death via AIDS, a public health epidemic treated by our powers that be at the time as a modern-day leprosy rather than as a health crisis that required recognition and action.

Or did you forget all that?

Anyways. Of all things, this film is a fine, suitable tribute to one of the most powerful performers in rock. It is a joy, a sustainable, uncontainable joy.

Do you like joy?

In Other News
• 10 Things You May Not Know About Queen’s ‘Bohemian Rhapsody’
• Scaramouche! The story of how ‘Bohemian Rhapsody’ ended up in ‘Wayne’s World’ and became a phenomenon again.
• Bohemian Rhapsody: Rami Malek Reveals What Queen Thought of His Freddie Mercury