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Rating: PG-13 (Some Languages | Intense Violence / Action | Thematic Material)
Genre: Action, Adventure
Original language: English
Director: Cate Shortland
Producer: Kevin Feige
Writer: Eric Pearson
Release Date (Theaters): July 9, 2021 Wide
Release date (streaming): July 9, 2021
Autonomy: 2h 13m
Production company: Marvel Studios
Aspect Ratio: Scope (2.35: 1)

Scarlett Johansson played Black Widow in seven films dating back to 2010’s “Iron Man 2” — eight if you count her cameo in the credits of “Captain Marvel” — so it’s about time she got a chance to shine on her own.
She finally gets this opportunity in “Black Widow,” a self-contained and incisive effort in the Marvel Cinematic Universe that feels like a break from the perpetual momentum of the series. There are no interruptions from other Avengers, no need to connect with her friends to save the world. Sure, there are villains to fight and action scenes to choreograph — the MCU isn’t doing direct character studies, at least not yet — but “Black Widow” is a chance to stop and smell the roses, or the closest. possible. she will be joining this huge franchise.
Black Widow is Natasha Romanoff, a trained superspy who has no superpowers like her fellow Avengers, she is just very good at fighting and has been excellent at avoiding death for a long time. (But not enough, apparently; she met her disappearance in 2019’s “Avengers: Endgame”.)
She was always present in the “Avengers” films, but often gave the spotlight to Thor, Hulk, Iron Man or the other scene that monopolized the brothers who were bigger, bolder and had more weight to throw. She wasn’t sloppy, but she always kept to herself.
“Black Widow” offers her a juicy origin story in which she sink her teeth into. We opened in Ohio in 1995, where a teenager Natasha sports blue hair and lives an average suburban life with her sister, Yelena.
One night, her father (David Harbor) comes home and informs her mother (Rachel Weisz) and the children that they have an hour to blow up the city. Soon S.H.I.E.L.D. the agents are hot on their heels and the family is aboard a small plane to Cuba. (Dad is on the wing, somehow.) When they land safely, the children are drugged, the innocence of their childhood vanished with the dip of a needle.
It turns out that idyllic family life was an elaborate bait. Natasha’s father is Alexei Shostakov, or Red Guardian, the Russian counterpart of Captain America, and her mother is Melina Vostokoff, a Russian spy. The boys were part of their cover. And now Natasha and Yelena are sent by General Dreykov (Ray Winstone), who trains them to become spies in his army of black widows. So much for the quiet life in the suburbs.
Taking a cue from the present of the story, Natasha is alone and hides; “Black Widow” is placed on the MCU timeline between the events of 2016’s “Captain America: Civil War” and 2018’s “Avengers: Infinity War”. happy reunion; they have a fight to the death in Yelena’s apartment in Budapest, and only after they have nearly killed each other do they sit down to chat.
Yelena is well aware of her sister’s career as the Avenger, but she is far from star-struck, and teases her about her saccharine three-point superhero stance and the way she shakes her dramatically. her hair. Johansson and Pugh have a natural alchemy, and it’s their dynamic and sense of family that drives “Black Widow”. The script prepares the sisters for a reunion with mom and dad that gives the film its purpose, beyond the fight scenes and dizzying location jumps.
However it had to happen, “Black Widow” takes Natasha and Yelena on a helicopter over the Russian prison where Dad is being held to organize a daring escape. Forget the logic of the sequence; once they’re together — Yelena punches Daddy — the familiar element really takes hold and “Black Widow” gives his characters a deep-rooted sense of reality that sets him apart from other voices in the Marvel world.
Harbor, in particular, is a cut-up and steals scenes as a gaunt, elderly, jealous superhero put out to pasture. He is also a terrible father who makes up for lost time and the wrongs of the past, and there is an element of “Black Widow” that is about accepting one’s family unit for who he is, flaws and all.
It all hinges on a showdown with Winstone’s Dreykov in his training facility in the Red Room; Winstone is always a presence, but Dreykov is a third level villain without much to play with. (His use of armed pheromones is reminiscent of Poison Ivy from “Batman & Robin,” and not in a good way.)
Australian director Cate Shortland is definitely in the superhero business — Marvel has to keep the lights on, you know — but “Black Widow” finds her centerpiece in her (relatively) quiet moments as a character. The largest franchise in the world is expected to do this kind of side-travel more often.

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Ever since Natasha Romanoff (Scarlett Johansson), better known as Black Widow, made her way into the Marvel Cinematic Universe, fans have been clamoring for an indie film, and for good reason. She is surprisingly lethal but also incredibly human, with a dark and mysterious background as a highly trained Soviet assassin.
Finally, the MCU delivers, and it’s a bit surprising. Directed by Cate Shortland, “Black Widow” has the look and feel of a globetrotting spy thriller, and isn’t afraid to break through a bit of “Avengers” mythology, including confronting what it means to be a “ hero”. “
The existential questions that “Black Widow” struggles with, courtesy of writers Jac Schaeffer, Ned Benson and Eric Pearson, fit where Natasha finds herself, after the events of “Captain America: Civil War,” alone and runaway. In this vulnerable moment, the unexpected happens: her past finds her.
An opening sequence describes an important moment in Natasha’s story, when two paths parted, and she was forced to follow what led to her becoming a Black Widow. After a few idyllic and confusing childhood years in the United States, she grew up in a rigorous training program called the Red Room, run by a powerful Soviet politician, Dreykov (Ray Winstone). With an army of young female super soldiers, she controls global political whims, because she controls the minds of her widows. The only way to break Dreykov’s control and restore autonomy to these young women is to deprogram them using a chemical gas.
The charge is led by Yelena (Florence Pugh), Natasha’s long-lost sister, a fierce and spirited widow, deprogrammed, willing to throw a few punches and more than a few jokes at her older sister. Pugh’s presence is one of the most exciting MCU introductions in a long time, and the elevation of her material is thrilling. The same can be said for David Harbor and Rachel Weisz, who play the former parenting figures of Yelena and Natasha, Alexei and Melina. Alexei was once the Red Guardian, a Soviet version of Captain America, a one-sided rivalry that he constantly complains about. Melina is a scientist and, at one point, this quartet played some kind of family.
Shortland approaches action sequences such as brutalist ballets, airy acrobatics through Norwegian villages, Budapest metros and a Siberian gulag. However, it also has the ingrained and gritty feel of a “Bourne” movie, and once the gang is all together, it becomes an eerily fascinating family comedy. The tones that Shortland weaves together make the film singular, even if there is a piece with the MCU.
The super sardonic killers and vodka drinkers who make up Natasha’s dysfunctional adoptive family are an entry point for writers to mock the abused tropes of the “Avengers” and create space for Natasha to question everything she’s done. and did not choose. When the title of “hero” is a burden, not an honor, her family — who have been brought together and forced to serve as super soldiers against their will — are there to hold a mirror. What does it mean to be a “superhero” now? Is he landing in a three-point position? Or does he introduce himself as you can to whoever you call family?
While some of the character’s motivations remain obscure, the film focuses on family (and Yelena, who we will likely see again), as well as Natasha finding personal freedom in freeing others. The “Avengers” movies have always tried to find strength in a team, or a family, of individuals, so while “Black Widow” may seem like a deconstruction, she ultimately remains a staunch adherent to the MCU ideology.

The Marvel cinema machine advances relentlessly. Looking back is reserved for nostalgic kicks and jokes. It’s a feature, not a bug. This momentum keeps the franchise exciting, each movie ends with a starting point for the next installment, subplots that never clicked are quickly left in the rearview mirror. The big question about Black Widow got to the heart of this approach: How will a film centered around a character who’s already dead will be relevant to the Marvel Cinematic Universe?
Set after the events of Captain America: Civil War and before she sacrificed herself in the latest Avengers movie, Natasha Romanov, AKA Black Widow (Scarlett Johansson) is on the run. It’s not a problem; as a super spy, she is always one step ahead. What she isn’t prepared for is a surprise package that brings deadly superpowered assassin Taskmaster to her door. Someone really must want those mysterious vials that were sent to her. You seem to have one last mission ahead of you.
It doesn’t take long to realize that despite the vague gestures towards ‘unfinished business’, the story of Natasha Romanov is really over. She was never pushed aside in her film of hers, but this is never her film in the first place. The opening sequence is set in the United States in the 1990s and is a piece of undercover espionage work that is an action-packed twist on The Americans, which introduces us to her false parents, Alexei Shostakov (David Harbor) and Melina. Vostokoff (Rachel Weisz). He is a super-strong Captain America impersonator, she is a key part of the program that created Black Widow; Could part of Natasha’s unfinished business be… family?
Include her never-mentioned “younger sister” (well, she was her sister in their fake 1990s family), Yelena Belova (Florence Pugh). The real protagonist of this film, it is she who sent the mysterious package to Natasha and who, after a cute fight scene, joins her. This is because a): they need to use the contents of the package to free the rest of the sexy undercover Widow killers, because b): it turns out that the Red Room program that Black Widow created is still going full steam despite its previous efforts to kill the head of his (now privatized) operations, Dreykov (Ray Winston, who has a large presence and perhaps isn’t the man you go to when you want a Russian accent done right).
It’s been over a year since the last Marvel movie and Black Widow is the perfect welcome back. She hits all the traditional beats, does all the standard stuff, and gives one of the franchise’s main characters a final hello that’s never a story to tell. Above all, it’s a return to the genre that Marvel does best; is a spy story where superpowers are kept at a low level and (mostly) confined to implausible martial arts moves.
Despite the complex mythology, the storytelling is simple and efficient. This is more likely the result of the well-oiled Marvel script typewriter than the hand of Australian director Cate Shortland (Somersault), despite the vaguely current #metoo bad boy who is exploiting and abusing young women for loosely defined “global influence”. Likewise, the action scenes are thrilling and effective without ever being extraordinarily memorable. Having the final conflict taking place on that old Marvel stand-by, a giant evil base that’s exploding and falling from the sky, only reinforces the feeling that this is a pack of hits.
The one area where this really stands out, and where Shortland’s hand is most evident, are the fractured family dynamics of the central characters. Alexei is a stupid dad who has good intentions; Melina is the competent mom who loves her man despite her flaws. Natasha is the older sister who is already halfway through the door, and Yelena is the ardent challenger who, thanks in large part to Pugh’s glamorous five-star performance, steals every scene she is in.
The big problem with the Marvel franchise is that they’ve never been good with bad guys. This is because they have always kept an eye on the next movie and because the bad guys never make it to the next movie, they are overlooked. Natasha is the character who is overlooked here, while Yelena is clearly the future even before a post-credits scene that throws her straight into the heart of the Marvel Universe. As a farewell to Natasha, Black Widow is a work of art effort; as an introduction to the new Black Widow, it’s a thrilling success.