Film Review: The Woman King

The Woman King
Director: Gina Prince-Bythewood

Welle Entertainment and JuVee Productions
In Theaters 09.16

The death or glory, swords-at-the-ready battle epic was one of my favorite genres when I was in my 20s, and I saw both Braveheart and Gladiator 10 times in the theater.  As I get older, I’ve lost a lot of my taste for violence on screen, and even more so the worshipful attitude toward raging machismo. It took something special to really pull me into that kind of movie again. Specifically, it took Viola Davis, Gina Prince-Bythewood and The Woman King.

The Woman King is inspired by the story of the Agojie, an all-female regiment of warriors who protected the African Kingdom of Dahomey in the 1800s. General Nanisca (Viola Davis) is a tough and driven commander who demands perfection from her soldiers and from herself as she trains a new generation, preparing them to fight against all those who threaten the kingdom. Nansica is also a trusted counselor of King Ghezo (John Boyega, Star Wars: The Force Awakens, Breaking) and is trying hard to convince him to stop break off any cooperation with slave traders in the region, instead urging him to concentrate on agriculture to keep their economy moving. Nansica’s single-minded focus on serving her kingdom becomes complicated by the stubbornness of a young cadet, Nawi (Thuso Mebedu, The Underground Railroad), and while the two frequently butt heads, Nansica sees great potential in Nawi, both as a warrior and, perhaps, even more.

Gina Prince-Bythewood (The Old Guard) and screenwriter Dana Stevens (The Nightingale, City of Angels) have made a highly entertaining film that serves both as a throwback to the sword epics of the ’90s and early 2000s and a forward-thinking movie with something to say. There will be those calling The Woman King too “woke,” and to quote the late Robin Williams, I’d agree with them if they were right. The Woman King has a social conscience, and it’s a highly speculative, fictionalized version of history, and yet it’s probably far less so than Braveheart, which bears no real resemblance to historical truth on any level despite its rabid following. The Woman King offers a compelling story and great characterizations, surrounded by expertly staged action sequences that feel real and exciting without reveling in the violence to the point of becoming sidetracked by blood and gore. Still, it’s the commitment to story and to exploring difficult topics in an unflinching fashion that makes The Woman King a genuinely important film.

Viola Davis is perhaps my favorite American actress, and the Oscar winner proves once again that with material that gives her anything at all to work with—in other words, anything but a Suicide Squad movie—she can practically do no wrong, and what she brings, especially to the final third of the film, is immeasurable. Mebedu makes a strong impression in a star-making performance as Nawi, and Lashanna Lynch (Captain Marvel, No Time To Die) is pitch perfect as Izogie, a mentor to Nawi. Boyega doesn’t get quite enough screen time to fully flesh out his character, but he does well enough with the time he is given to remind us of just how good he is. If there’s an MVP award for The Woman King, though, it may go to composer Terence Blanchard (BlacKkKlansman, Da 5 Bloods), who could easily win an Oscar for his powerful and lively score. 

The Woman King is a bit lacking in subtlety, as is always the case with this genre, yet it balances Hollywood convention with bold new choices well enough to be one of 2022’s most interesting and worthwhile mainstream films, receiving a resoundingly enthusiastic recommendation from me. It’s a rousing adventure with a heart and a brain, and if the buzz keeps building, it may be preparing to do battle on the Oscar front in the coming months. –Patrick Gibbs

Read more reviews on films with John Boyega:
Film Review: Breaking
Film Review: Star Wars: The Last Jedi