Black widow is a vibrant mix of action film and family drama of a clan of dysfunctional superheroes condemned to the cause of guns and the Cold War. As if Marvel had been imbued with the melancholic spirit of the Sidney Lumet film A place nowhere. If in that forward flight the Fire and Rain by James Taylor —a song heard by that family of nomadic terrorists with a son, River Phoenix, fed up with living in check—, here is the famous American Pie, by Don McLean, the one that acts as a nostalgic spring in the fragile childhood memory of these fugitives with powers. The story investigates the roots of Natasha Romanoff, that Black Widow member of The Avengers who in the skin of Scarlett Johansson has traveled in the last decade through the Marvel films. Romanoff pursues his identity and thus the viewer delves into his past traumas with his little sister, played by the brilliant Florence Pugh, an actress in permanent growth, capable of taking over from Johansson clad in latex and also with that sensual throat clearing. of their hoarse voices.
Rachel Weisz and a tender David Harbor as the Red Guardian are the heads of that failed and broken family that centers a well-narrated plot by Australian Cate Shortland, a director who knows how to sustain the action and drama of a film that starts with intense credits accompanied by a Malia J. version of the Smells Like Teen Spirit of Nirvana or that a nod to James Bond of Moonraker. The truth is that both Scarlett Johansson and Florence Pugh are especially comfortable in this film, which successfully explores the tragic vein of superheroes, but with touches of humor and feminist action that are also reminiscent of the series Killing Eve.