There was a brief period in the world of Metal (the music not the material) where the subgenre ‘female fronted’ was a thing. Not that there was a problem with women being in bands. There’s been women in Metal bands since the 80’s, but there was a period in the late 90’s and early 00’s where women fronting Metal bands was its own niche. Like it was an oddity or quirk that women would actually want to be fronting a band of (mostly) men and having them follow her lead whilst being centre of attention on a stage in front of hundreds, thousands, tens, maybe even hundreds (if you’re Nightwish) of thousands of adoring (again, mostly male) fans. Why would that be strange? Well, since men are, typically, the more aggressive of the two sexes, it seemed curious that women would want to get involved in a music full of chugging riffs, screaming solos, thundering drums and angry vocals. It’s not like women would enjoy that sort of thing, would they? Oh, wait…turns out they do. And swiftly, that subgenre disappeared never to be seen again. Bands like Arch Enemy started with a male vocalist and are currently on their second female vocalist. They’re not ‘female fronted’. They’re Arch Enemy who have had two astounding vocalists who happened to be women.
Anyway, what does this have to do with the latest product to roll off the Marvel Studios production line? Well, the film industry seems to be having its own ‘moment’ where it’s forgotten its own history. First, we had Black Panther in 2018 being declared the ‘first’ film with a black superhero. No doubt Will Smith (Hancock, 2008), Wesley Snipes (Blade, 1998), Shaquille O’ Neal (Steel, 1997), Michael Jai White (Spawn, 1997), Damon Wayans (Blankman, 1994), Robert Townsend (The Meteor Man, 1993) and Tobar Mayo (Abar, The First Black Superman, 1977) would say something to the contrary. Or was it that Marvel were just marketing their film to be politically aligned with the ongoing racial divisions that they decided no black superhero movies existed prior to Black Panther because, somehow, those films weren’t about black people as an oppressed race (despite Black Panter taking place in the most advanced country on Earth) and more about a fictional character that happened to be black? Fiction or warped reality? What’s more profitable?
Similarly, Hollywood did the same in 2017 when Warner Bros. released Wonder Woman. It was marketed as the representation women needed ‘right now’ in the world. But women have been in films since the beginning of the business and played all kinds of roles. Look at Doris Day in Calamity Jane. Just ask Meryl Streep or go and watch Marilyn Monroe in any one of her numerous films where she was the star. Or, more recently, speak to Jennifer Lawrence who fronted the $2.97billion grossing The Hunger Games franchise from 2012-2015. There are two entire categories at the Oscars for women. Best Actress and Best Supporting Actress. Funny that that’s the same number of catgories the men have. So, what’s all this ‘there must be more female fronted superhero films’ business all about?
Power and control.
There’s a reason it’s taken until the fourth paragraph to actually begin to discuss the topic of this post. Unfortunately, it seems that Marvel Studios are pandering to the political activists hellbent on forcing their agenda down the throats of people who just want to go to the cinema, be entertained for a couple of hours and go home.
The film itself opens with subtle messaging within the first few scenes. Awkwardly, the film begins in 1995 (Florence Pugh was born in 1996) in a typical Amercian suburban neighbourhood. We’re introduced to a fairly normal American family. Initially, a mother, a young daughter and…an older child. On first watch, I struggled to tell if the older sibling was meant to be a boy or girl with their multicoloured, multilayered Social Justice Warrior hair and androgenous physique and clothes. They look to be in early adolescence so, if a girl, there should be some signs of femininity. Turns out the older sibling is young Natasha Romanoff but she’s done up to, in my view, send signs of ‘representation’ that children should not be girl or boy and only choose their gender when the’yre older. This was the first turn off. Plus, this kind of thing wasn’t happening 1995 so the writers took some liberties with history here.
The rest of the opening sequence is fairly standard. Dad comes home, grabs a beer, the family have dinner then the proverbial shit hits the fan when the parents, who are really Russian spies, find out they’re being hunted after the father (David Harbour) has made a copy of a disk containing important information before burning its place of origin down. And now, the family have to leave.
Given the Cold War ended in 1989, the whole vibe of this subplot doesn’t sit well. Told you 1995 was an awkward place but with an age gap of 11 years between Pugh and Johannson in real life and their characters looking to be 4-5 years apart, more liberties were required.
Anyway, cue the family doing a quick pack-up before heading off to an airfield where, for reasons, a small plane is uncovered from some rubble in front of a hangar. The authorities have caught up to the family whilst the plane is in motion allowing for a fairly tense series of sequences allowing for the three eldest members of the family to engage in some heroics before managing to escape.
The rest of this opener plays out with the family being introduced to Ray Winstone’s Dreykov. His Russian is as convincing as Sean Connery’s but he’s no less watchable. Harbour’s Alexei hands the disk to Dreykov while his wife, Melina (Racehel Weisz), is loaded onto a military transport.
Seeing her mother being taken away, we see young Natasha’s training kicks in when the military attempt to take her sister. This sequence is interesting as it implies a very close bond between the pair. More on that later.
The opener ends with both girls being taken away and loaded into containers which leads into the opening credits where, in poor taste, we get another slowed down cover to take us through the montage. This time, Nirvana’s ‘It Smells Like Teen Spirit.’ AI found that to be anohter turn off since we’re watching young girls being forced into shipping containers and taken away from everything they know. But, hey. Marvel needs to show it can ‘serious’ and ‘edgy’, right?
We’re treated to news footage of the installation Alexei burned down along with disturbing images of the girls transformation into ‘Widows’. This raised another problem for me. Given we’ve only known of Black Widow since 2010’s Iron Man 2, why wasn’t the audience made aware far earlier in the franchise that Romanoff was an agent for a separate organisation? We knew she was an assassin but just now who she was doing hits for.
Montage ends and the film starts right after the events of Civil War with William Hurt’s ‘Thunderbolt’ Ross sending in a squad of elite troops to catch the Black Widow. The squad is complimentary as it’s the kind that might get sent in to subdue Captain America, Winter Soldier or Falcon. But Black Widow? Guess Marvel needed to show she’s a much bigger threat than she is. Romanoff is sly and it’s revelaed she’s actually on a ship travelling a Norwegian fjord and not in America about to be overrun.
Cue another change of scenery (this time MOROCCO since the audience can’t make educated guesses on locations anymore) and we now see multiple Widows in action where we’re introduced to Florence Pugh’s Yelena. We also get to see the villian Taskmaster who looks a bit like a mish-mash of Skeletor, the Terminator, Robocop, Kylo Ren and a Cylon but with none of the menace of either one.
We flick back to Natasha’s current location (NORWAY) where the radio kindly informs the audience she’s on the run because that wasn’t clear from two scenes earlier.
Up to this point, the general premise has been serious. It falls down when we meet Mason, Natasha’s ‘finder’. For a guy who is dealing with covert and undercover miliatry types whilst being one himself, he’s a bit…nice. A bit…soft round the edges. A puppy dog. The sexual tension between him and Romanoff is functional at best. He wants her and is doing his very best to impress but it’s clear she’s using for access to kit and a bit of ego stroking. The character is not written to be a tactical military fence but a wet paper bag.
Natasha apparently enjoys watching that other fictional spy, James Bond, whilst her film is currently emulating the style of Jason Bourne. Considering the Bond flick she watches is Moonraker and not a Daniel Craig Bond, take that as a sign for the general tone.
Taskmaster shows up (or SkeleTermiRoboKylon) and we get the first fight scene which is supposed to showcase Taskmaster’s ability to mimic their opponent but instead, shows they’re a bit crap at fulfilling their objective and taking the chance to kill Romanoff there and then.
One fight moves to the next. This time, Yelena against Romanoff in the Budapest safehouse. At this point, I have to agree with Gamespot’s review. The writers cannot decide what power level Romanoff is on. She’s not afraid of having a gun pulled on her. She’s happy to get slammed into a doorframe. Have a plate smashed into her face. Flung into a doorframe. But when a knife is pulled, she’s scared.
Naturally, as both women lay on the floor after calling it even, there’s not a scratch on them. If this was any male character, there’d be some signs of a fight but women are ‘strong’ and the writers are generously applying the liberties to prove it.
What’s really bizarre about Romanoff meeting her sister for the first time in years is that we don’t get that protective bond shown earlier. They fight, stop fighting then carry on like nothing happened. Where’s the history? Where’s the resolution? We don’t get any. Yelena knows of Tony Stark being her sister’s friend but not Hawkeye (his arrow marks are shown in the safe house) who’s her sister’s oldest friend. Odd thing that she wouldn’t know.
The sisters’ interaction is interrupted when a band of Widows bust into the safehouse (not really a safehouse then, is it?) and proceed to open fire in a covert, stealthy manner that wouldn’t make anyone think gang warfare had just broken out.
Despite being chased by those trying to kill them, there’s a point where the sisters are holding onto a falling chimney where a Widow jumps on to complete her mission. Rather than try and kick her off, Romanoff (see, I can’t call her Black Widow because she’s not the only one. Thanks Marvel Studios for ruining the oldest female character in your franchise) goes to save her. I suspect this is supposed to be an attempt to show her compassion. She knows what these girls have been through and that they’ve been conditioned and programmed to complete their mission at all costs. But showing this when they’re in mortal danger? Misplaced. Despite her attempts to save the Widow, she falls, seemingly, to her death.
Natasha gets the John Wick treatment and survives an unsurviveable fall with zero damage. Even at the end of John Wick Chapter 3, Mr. Wick was in a bad state but Natasha can just walk this off despite it not having been previously revealed she has a weaker version of the supersoldier serum like she does in the comics. So, as far the films go, she’s just a highly trained human.
The Widow that fell is also alive despite falling some sixty or more feet onto concrete. My disbelief has been fully unsuspended at this point.
We then get a brief motorbike sequence ending with the Romanoff sisters being chased by an armoured vehicle which has just smashed a car at speed before stopping to let the sisters get on the bike and set off so the chase can begin. This bit is like a point in some computer games where you’re in a boss area but the fight doesn’t start until the player does the thing needed to trigger the event. That’s what this bit is. All tension is removed when the big, heavy and fast armoured vehicle justs sits and waits when it should have continued relentlessly on towards the women forcing them to jump into action. Doesn’t happen.
What should have been a thrilling chase ends up boring and bland since, you know, the tension’s been removed and we’re ‘on-rails’ now. The sequence ends, predictably, with the women being thrown off the bike and down at least ten feet where some injuries should have been picked up after having been on a speeding motorbike. Nope. They just get up and steal a guy’s car and continue on because that’s what the childish writers of this script have put down. We get Yelena belting out misplaced and cringy humour about Natasha’s inability to drive a manual as opposed to ramping up the urgency at a time when their lives are in peril. The writers just don’t care and insist on slotting in cheap laughs where they’re not needed.
More boring action follows when the armoured vehicle reappears to reveal the Taskmaster as its driver. More poor jokes only serve to highlight that Yelena doesn’t like Natasha much but we don’t know why. The sequence ends with a preposterous shot of the car the women are in being potted like a snooker ball down the stairs of a subway station. I tried to switch off at this point, but I put myself through the remainder to get this post out.
Taskmaster does a bad Captain America impression as they pursue Natasha and Yelena through the subway. After this, we get a ‘reveal’ moment which is meant to be serious and show the viewer what Natasha went through in order to defect to S.H.I.E.L.D but it doesn’t come across right since we had a sequence from a recent Fast & Furious film right before.
With both women on the run, we move into territory remiscient of some of the intimate exposition scenes from Bourne. Except, Jason Bourne wouldn’t discuss his killer past whilst in front of a civilian behind the till of a petrol station. Good moment. Poor placement.
Despite this, the film moves on to a truly intimate and caring scene between Natasha and Yelena but it’s let down slightly with Yelena giving more exposition on details Natasha would know but the audience does not. Yet, Yelena is talking to Natasha. After this slight misstep, there is genuine weight applied and the chemistry and bond between Yelena and Natasha gets to come through.
We cut to Russia where we’re reintroduced to Alexei who, for reasons unknown and unexplained in this film, is in prision and has been for some time. I’ve never been to prison let alone a Russion one, but there are a lot of inmates (male) walking around topless. Anyway, the reintroduction is rather cool with Alexei telling a highly embellished story about a fight with Captain America when he was the Red Guardian, whilst easily defeating all oncomers who dare challenge him to an arm wrestle. This quickly and efficiently shows Alexei’s egotisical nature as he wanders down a fictional memory lane whilst getting a new Red Guardian tattoo on his back to add a touch of narcissism.
He’s broken out by Natasha and Yelena in yet another sequence that would be more suited to Vin Diesel particularly the end where Alexei is lifted one-handed by Natasha whilst the prison blows up. Alexei being twice the size of Natasha, more disbelief is unsuspended.
Further more, during the breakout Yelena questions Alexei’s chances of survival. But Alexei’s a supersoldier. Yelena and Natasha are not. But, for the purposes of the politcial agenda, the ‘strong’ women must go and save the ‘weak’ man. Cue another unbelievable sequence where Natasha easily sends several very accomodating stuntmen over a railing. Add on top of this that Alexei (supersoldier and spy) is depcited as stupid enough to not understand how communication in a helicopter works. And on top of that still, we’re given more exposition by Yelena into how girls are transformed into Widows by way of degrading Alexei’s intelligence despite having once been the right-hand of the man who created the Widow program in the first place. This only serves to highlight that the writers don;t know the material or their own script and it doesn’t make any of the characters look good. Again, this is furthered when Yelena jokingly suggests throwing Alexei out the window because he points out that Natasha suffered no repercussions for killing Dreykov’s daughter whilst Alexei was imprisoned for life for no apparent reason.
Another daft ‘funny moment’ occurs when Alexei informs the pair that their ‘mother’ is working for Dreykov outside St. Petersburg. Yelena informs back they don’t have fuel for that journey then we cut to show the helicopter falling from the sky, landing quite softly and all three characters waking out unscathed. Dumb. Dumb, dumb, dumb.
It is followed, rather jarringly, by a rather touching, if morbidly amusing, moment with Alexei displaying genuine paternal pride over his adoptive daughters.
And, quite fortuitosuly, Melina is maybe a mile away conditioning pigs. Seems that helicopter had just enough fuel after all.
Another reflective and seemingly serious scene follows with the ‘family’ reunited for the first time in over twenty years. The tone is dropped with flirting and faux family interactions. Again, either the writers or director didn’t have the gumption to choose a tone and stick with it. This plays out throughout the time we spend at Melina’s house. But we do learn that Melina was a willing participant in uncovering the science that stops a being having any control over its body. This detail gets flipped later.
Once out of Melina’s cabin in the country, we’re back to typical spy stuff. The family are found out and taken to Dreykov’s ‘Red Room’ skybase a la Moonraker. Don’t know how they were tracked. Maybe something to do with blowing up a prison a scene back but without any tension-building details, we just don’t know.
The next detail, I have issues with. In the existing MCU, we are aware of two major secretive organisations on Earth. S.H.I.E.L.D and Hydra. The very presence of a skybase run by Dreykov strongly suggests that his Widow organisation/program/initiative is on par with the other two as, later on, Natasha gets Dreykov to reveal the size of the operation and we are shown thousands of Widows around the globe. Yet, there’s been no mention or hint that this has been on the radar of either of the two known MCU entities.
From this point on, the film moves into fairly standard territory for Marvel. Dreykov isn’t really a threat. There’s a fight high above ground. There’s a big explosion above ground. And we get a fairly weak CGI fest. All boxes ticked.
The reveal of the Taskmaster would come as no surprise if you paid attention to the credits or the regular mentions throughout the film. The fight between Taskmaster and Red Guardian isn’t as much of a test as it should be. Supersoldier vs augmented mimic should be quite even and a source of tension but, again, I think the writers bailed out as it’s effectively man vs. woman and able-bodied against disabled. Forget opposing sides, politics reigns supreme here and practically the whole fight is diffused with quick cuts and Yelena’s non-supersoldier self saving Red Guardian.
The one thing I did like during the finale was Natasha getting Dreykov to hit her. Not because I like seeing old men beating women, but because it was her (literally and figuratively) overcoming the hold Dreykov had on her. The ‘Queen Bee’ mechanic is interesting but comes across a bit naff with Dreykov revealing he controls the Widows through pheromones and the very smell of his forces a Widow unable to do him harm.
We’re also shown that the operation can topple governments and make economies crash. No explanation how. The audience is just expected to accept it.
We’re given a scene not unlike Neo vs all the Agent Smiths when the Widows come to Dreykov’s aid and start laying into Natasha. They all cut the same shape and fight the same. There’s not much distinct about them save the Diversity & Inclusion clause which, of course, even evil Russians have to follow.
The purpose of this scene is to allow Yelena to deploy the ‘red mist’ antidote she stole at the start which will counter the pheromone control. Plus, for Natasha to sever her link to Dreykov since he wasn’t strong enough to do it, she has to break her nose which should render her without the sense of smell and her ability to breathe. But, she just resets her nose and all is well. It’s also the only time we see Romanoff bleed after everything she’s gone through at this point. Women are so strong that only they can make themselves bleed. Nothing or noone else.
Just before the CGI fest, Yelena chases down Dreykov and inserts her fighting sticks into one of the engines of the helicopter he’s boarding. The helicopter catches fire and Dreykov dies off screen. So, why use the antidote if killing Dreykov was part of the plan? With him gone, who controls the Widows? No one.
Yet, somehow, the antidote still works as Taskmaster is freed from her murderous rampage against Natasha thus avoiding another fight.
What I’ve noticed is that Hollywood seems to be trying to create a trope of ‘all women are victims and only do bad things because bad men make them’. It happened in Wonder Woman with Doctor Death allegedly serving Ludendorff out of fear and devotion rather than actually enjoy creating weapons of murder. We had it in Captain Marvel with Carol Danvers being controlled and manipulated by the Kree officer Mar Vell (Jude Law). With roles reversed, men are held to account and called out for their actions. This trend, should it take off, has to be concerning for all.
The main part of the film ends with Natasha confusingly being surrounded by Ross’ government squad. He’s caught up to her. She can’t run, hide or escape. What happens? Well, the writers cut to black and we get ‘Two Weeks Later’. Utter copout. Literally reinforcing the point that a female spy can go off, do bad things (albeit to bad people) and face no consequences.
In the flash forward, Mason gets her a quinjet just to gain her validation and the film ends with a peek at the pink blossom subplot from the start. No resolution.
And that’s it. That’s Black Widow. A film that tries to have the gritty tone of Bourne and the latest Bonds but with the cool assassin aesthetic of John Wick mixed with the preposterous stunts of Mission Impossible and latter era Fast and the Furious. It succeeds at being neither in trying to be all of them at once. I think here, Marvel, once again, backed out of going all in with genuinely serious subject matter. They did it with Iron Man 3 in 2013. They should have gone full Al-Qaeda on Tony Stark with The Manadrin heading up the Ten Rings but didn’t. Meanwhile, with the same PG-13/12A rating, Christopher Nolan broke Batman in the Dark Knight Rises the previous year.
They’ve done it again here. I think they should have given Natasha’s full arc. Show the audience how she was forced into becoming a killer as a child. Show us how irredeemable she became as a teenager then show her path to redemption as she became an Avenger. Killer from childhood and on to saving the world twice before sacrifing herself for half the universe to be brought back. The mission showing her defection to S.H.I.E.L.D is where this film should have taken place. We know the rest.
I also found the inclusion of her adoptive family interesting but unneccessary. This should have been about Natasha. Instead, she seemed like a side character in her own film where no one was the main character. She’s a spy and an assassin, true, therefore she wouldn’t a main focus of attention anywhere but this is supposed to the full and final farewell. Yet, we find that she’s not that special and there are literally thousands of young women who all act and fight like her so, she’s easily replaced.
Which brings me to Florence Pugh. I liked her. I thought Yelena was tough, snarky and very much focused on her mission. There was good chemistry between her and Johansson and I think she’ll be an intersting fit in fute MCU films.
David Harbour was convincing as Red Guardian though I’d have liked to see him do more. Same with Rachel Weisz’s Melina. Such is the problem with bringing in this much talent to a superhero film. They don’t get the screentime they deserve.
Johansson seemed done. There wasn’t the same investment in the role as depicted in all her previous entries. If I was in her shoes, I’d struggle to play a character one last time knowing she was dead in the previous film. Doing things in a non-linear fashion like this doesn’t allow the audience or the actress to move on.
Another odd point with the placement of this film is that Natasha is supposed to be on the run. Why is she hunting down Dreykov and engaging in a mission that brings the authorities right to her as they do at the end? Hence, I think placing this before her S.H.I.E.L.D days would have been better to allow the audience to see how she changed from being a human weapon to being a human that uses weapons in service of humanity.
Ultimately, this was a missed opportunity to find out a lot more about an interesting character that was never really fleshed out from Iron Man 2 through Avengers via Captain America. All we really learned was that she wasn’t that special and her younger replacement is incoming. That’s a deeply disrespectful send off for any character let alone the original female Avenger.
However, in a twist of perverse irony, this is actually the perfect film for the character to end on. She’s used to furthering politcal agendas and ending political regimes. Given the current attempts to start a gender and culture war, who better to utilise and exploit than a beautiful white female assassin designed to manipulate whilst being manipulated? And best of all, she’s untouchable.










