Scarlett Johansson slips on the comfortable boots of Natasha Romanoff with ease, even if - at times - she feels like a supporting character in her own film. With shades of The Winter Soldier, Black Widow hits extra hard with an action extravaganza that is as varied as it is entertaining: Car chases, helicopter rescues, and bone-snapping brawls only scratch the surface of the film’s adrenaline-fueled - and overlong - runtime.Īlongside its white-knuckle action, Black Widow is carried by the chemistry of its stars. Rondell, brings kinetic street-level action back to the MCU. Shortland, together with fight choreographer Jonathan Eusebio and stunt coordinator R.A.
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Flash forward two decades, taking place in between the events of Captain America: Civil War and Avengers: Infinity War, Yelena (Florence Pugh) has broken free of her conditioning, and she reluctantly seeks the help of her estranged sister to take down the Red Room - and its sniveling architect, Dreykov (Ray Winstone) - once and for all.Īfter the intergalactic threat of Thanos in Infinity War and Endgame, it’s refreshing to get a Black Widow film that focuses more on intimate stakes and grounded espionage. Completing their Stateside mission, the family flees the United States back to Mother Russia, where both girls are conscripted into the brutal Red Room training program. Embedded with her adoptive sister Yelena Belova (Violet McGraw), Natasha is raised by her “parents,” Russian Steve Rogers analogue Alexei Shostakov (David Harbour) and behavioral scientist Melina Vostokoff (Rachel Weisz). Opening with a lengthy 1995 prelude, Black Widow establishes young Natasha’s (Ever Anderson) childhood as part of a Russian sleeper cell located in Ohio. Black Widow orchestrates some of the most kinetic and thrilling street-level action since Captain American: The Winter Soldier, buoyed by a scene-stealing Florence Pugh, but the specter of its awkward timing looms large: Taking place before her heroic sacrifice in Avengers: Endgame, this is supposedly the final appearance of Johansson as the reformed Russian agent, but the film seems less like an essential text and more like a standalone adventure plucked straight from the MCU’s Phase Two. Filmmaker Cate Shortland ( Berlin Syndrome, Lore) adds depth and texture to perhaps the most-tortured Avenger, coloring in Natasha’s backstory with a new coterie of colorful characters and an exploration of her harrowing past. Only the second female-led entry in the Marvel Cinematic Universe’s entire 24-film history, the long-delayed and long-awaited solo outing for Natasha Romanoff (Scarlett Johansson) finds the titular super spy in between a rock and a hard place. Like Captain Marvel before it, Black Widow has plenty riding upon its shoulders.
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Nevertheless, Black Widow will delight fans of the character while simultaneously paving a bright future for the mantle. Scarlett Johansson and Florence Pugh shine in Natasha Romanoff’s solo outing, but in the wake of Avengers: Endgame, it all feels a little inconsequential and oddly timed what should be a moving swan song and a passing of the baton instead feels like a fleeting adventure straight out of the MCU’s early days. Star power and the best street-level action this side of The Winter Soldier do a lot of the heavy lifting for the long-awaited, long-overdue Black Widow.