Black Widow review

There aren’t many Marvel superheroes who have headlined their own books and did not get an adjective in the title. Black Widow is one of them. So, too, is Hawkeye, but he doesn’t have a movie. I’m presuming because Black Widow is better than him, despite the odd timing and long wait for her movie. Doubly odd given Scarlett Johansen is one of Hollywood’s favorite go-to bankable celebrities for female-led films.

But despite all that, Marvel went and let the Red Guardian steal the show. And they let Hawkeye butt in repeatedly without him ever even being there. That guy’s supposed to be a TV-level hero. It’s just not fair.

(But seriously, if you don’t come out of this loving the MCU’s most questionably effective super soldier, you aren’t human. Hrm… The Questionably Effective Red Guardian sounds like a good title, Not that many MCU movies used their characters’ adjectives aside from The Incredible Hulk)

The movie has a long introduction following a significant event in Natasha Romanov’s childhood as the fase child of a Russian sleeper cell in the U.S. straight out of FX’s The Americans. While slightly derivative, this setup introduces the emotional heart of the movie and itsx best non-action scenes involve building upon this introduction.

After an actual set of opening credits (kudos!), the movie picks up following Avengers Captain America: Civil War as Black Widow goes into hiding. And while she manages to evade the long arm of the law, her past as a Russian spy and assassin catch up to her along with an old score that turned out not to be so settled after all.

Overall, the movie is solid. There’s plenty of on-the-run and spy bits to keep things moving and mysterious, and fleshing out Natasha’s backstory had an unusual focus on the fun of it rather than the lengthy periods of — frankly — abuse. It even wraps up with a nice heist-like plot with a wide array of gadgets, misdirects and secrets.

As always, there are a few flies in the ointment. The pacing of the movie struggles to find a proper pacing for a good, long while once it gets going. It loves to suddenly drop and action setpiece on you after building up just a little too much monotony. As such, it tends to come off as forced more than it does surprising.

The final action scenes in the movie appear to have some effects shots that are either unfinished or overfinished (if you need a guide as to what an overfinished effects shot oook s like, check out the end of the clock tower scene in The Amazing Spider-Man 2. The only Spider-Man movie series that got an adjective). There are parts where a change to the background just pops in like it was an N64 game. Floor that up with a series that looks like they shot three takes of and effects shot, then used all three consecutively (and not for emphasis).

And that’s somewhat unfortunate. The action was at its best when it’s an intimate and visceral martial arts and improvised weapon choreography showcase. They were impressively shot, with the camera itself helping you feel the action. It’s the kind of action we haven’t seen before in the MCU, and they really stand out. And then guns, cars and motorcycles come out, which are far less creative in their execution. But I’m old now and action movie vehicle chases all look the same to me. I yearn for the next The Italian Job or The Blues Brothers. And while that’s a me problem, I’m still holding it against Black Widow because it makes this The Unevenly Presented Black Widow.

Occasional sloppiness and lack of impulse control aside, what Black Widow does well is done very well, and it’s a strong offering on the whole.

Verdict: Go for it.