WILL STONE applauds the anniversary tour of Pills 'n' Thrills and Bellyaches by Madchester icons, Shaun and Bez
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Winning widows
MARIA DUARTE recommends a ground-breaking heist thriller with women to the fore
JAN WOOLF invigilates images that meditate on Palestine, and the people who witness them
A murderous convention of crime writers, a hymn to nursing, a monster hunt, and robber baron capitalism
MARY CONWAY is disappointed by a three-hander that broaches big themes, but doesn’t transcend dry academia
DAN GLAZEBROOK eavesdrops on the bourgeois intelligentsia and the stories it tells itself at this moment of crisis
JAN WOOLF is bowled over by a major retrospective for the YBA artist
Widows (15)
Directed by Steve McQueen
ACADEMY Award-winner Steve McQueen's new female heist drama is one of those rare films that's both a hugely entertaining popcorn feature while being socially and politically relevant. And it certainly puts women in the driving seat.
Based on Lynda La Plante's trailblazing mini-series Widows, McQueen, who co-wrote the screenplay with Gillian Flynn's (Gone Girl), has relocated the action from 1980s London to present-day Chicago in what's a pulse-raising thriller set against the backdrop of race relations, crime, political corruption and grief.
When Harry Rawlings (Liam Neeson), the criminal husband of Veronica (Viola Davis), is killed during a daring robbery with his crew, she soon learns he owes $2 million to some dangerous people which still needs to be paid off.
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