Don’t ever say Viola Davis can’t do something because she’ll continue to prove you wrong. At 56, an action star is another notch on the belt of the esteemed actress that’s won a Tony, Emmy and Oscar. Her achievement in Gina Prince-Bythewood’s resounding epic “The Woman King,” along with the sensational ensemble, is among the highlights of the Toronto Film Festival when it premiered on Friday night. It feels like the “Gladiator” for Black women and what a welcomed surprise.
With the right messaging and awards campaign from Sony Pictures, the film can be among the many consumer-friendly titles in the hunt for Oscar attention.
Davis is another name added to the long list of best actress contenders that already includes Michelle Yeoh (“Everything Everywhere All at Once”), Cate Blanchett (“TÁR”) and Olivia Colman (“Empire of Light”), with others waiting in the wings such as Danielle Deadwyler (“Till”). Davis is a four-time Oscar nominee, winning supporting actress for “Fences” (2016). This is among her very best endeavors yet. A co-leading performance from Thuso Mbedu, egregiously snubbed for an Emmy for “The Underground Railroad,” she holds her own with Davis, and depending on category placement, is worthy of attention.
I can’t imagine a supporting actress lineup that couldn’t find room for Lashana Lynch as the scene-stealing Izogie. One-line zingers and some of the most emotional beats of the film come through her as the vessel. She’s the epitome of an outstanding supporting actress.
All the love for John Boyega as King Ghezo and Sheila Atim as Amenza, two central figures for the stories always shows they should be given so many more vehicles than they’ve already attained.
The technical mastery of Bythewood’s artisan team is among the year’s best assemblies. Bow to the threads of costume designer Gersha Phillips, who gives the female warriors part of their identity.
Terence Blanchard’s score pulsates throughout, taking an original take on battle sequences. After getting two noms under the leadership of Spike Lee (“BlacKkKlansman” and “Da 5 Bloods”), he could be headed towards another nom alongside another great Black filmmaker.
Cinematographer Polly Morgan, a true up-and-comer who has shown her chops in action genre films such as “Lucy in the Sky” (2019) and “A Quiet Place Part II” (2020), shoots her best work yet.
Production design and editing are well within reach along with makeup and sound.
Written by Dana Stevens, with a story by credit coming from producer Maria Bello, they bring the 19th West African kingdom of Dahomey to life. Two narrative beats are bothersome and stop it a bit in its tracks.
Bythewood’s direction demands attention. The scale and brevity of the film is a seamless effort coming from her, cementing her place among our most luxurious filmmakers. She has long been ignored as one of our most dynamic and exciting filmmakers in the game with only five features to her credit – “Love & Basketball” (2000), “The Secret Life of Bees” (2008), “Beyond the Lights” (2014), “The Old Guard” (2020) and now, “The Woman King.”
Your move Academy. Don’t pass it up.
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