Black Widow 4K 2021 Ultra HD 2160p

The action of the film will unfold after the events at the airport "Leipzig-Halle". Natasha Romanoff is forced to face her past. She again recalls the "Red Room", where professional killers like her were trained, and decides to deal with the people who influenced her fate forever.

Black Widow 4K Review
The Widow takes place several years before the events of the Avengers finale and immediately after the superhero split in Captain America: Civil War. Natasha Romanoff (Scarlett Johansson) decides to retire and spend time in quiet solitude, but the past cannot be stopped: the heroine has to meet a long-forgotten family, a mysterious Taskmaster and secrets from her childhood spent in an experimental bunker codenamed "The Red Room".

In the first shots of Widow, teenager Natasha (convincing Ever Anderson, daughter of Milla Jovovich and Paul US Anderson), along with her younger sister Elena, are mesmerized by the glowing fireflies in the backyard. The tale does not last long, macaroni and cheese for dinner is unlikely to arrive in time: the idyll is replaced by news of a sudden move, parents (Rachel Weisz and David Harbor), working for the KGB, were tracked down by the FBI; it's time to literally fly away. A hint of warmth leaves memories and progressive pain.

Under the cover of Smells Teen Like Spirit in the credits, they stylishly and briefly devote the audience to the genesis of Natasha - not just an operative raised by the Soviet Union, but who suffered enormous psychological damage to a girl who practically did not know the concept of family and warmth. Widows in the world of Marvel will face an unenviable fate: they are programmed to kill, made guinea pigs, self-destructing in case of mission failure, controlled by the megalomaniac central antagonist Drake (Ray Winston). Natasha managed to escape, others, including Elena, were unlucky at all. In the best traditions of the Jason Bourne trilogy, the action drags on and unravels, pulsating and gaining momentum, which Marvel had had very few earlier solo films.

The "widow" of the Australian director Keith Shortland ("Berlin Syndrome", "Lore") is distinguished by femoptics and humanity of the heroine, rare for a Marvel scale. Romanoff is imperfect, the viewers of / -the camera for the first time distinguish this from an extremely close distance. The path that the industry has traveled since the release of Iron Man 2, with its blatant objectification and sexualization of the heroine, is enormous. Solnik endows Romanoff with carte blanche on correlated, differentiated human emotions (Natasha does not possess superpowers), which in previous collections, if they slipped, were certainly lost in the squeezed air and a mess of destruction. Denial of parents, anger at them, awkward compassion for the sister is finally valid, and not only dictated by marketing strategies.

Natasha feels a sense of guilt for years of inaction towards the Widows. Rescuing the drowning, she decides to start with her sister (eclipsing all the star of the film Florence Pugh). For a plan to eliminate the very Red Room with genetic experiments, they are forced to unite with their parents, who quite calmly exchanged them for certain privileges. Melina (Weiss), over time, plunged into science and did not seem to remember the fictional family. Alexey (Harbor as comic relief), aka the Red Guardian, was deceived by the KGB and hid in prison, but ascribes the fruits of raising both daughters to himself, with tears in his eyes and missed the notes of the hit once loved by Elena.

Unlike the Starks, Caps and other members of the team, it was almost impossible to guess the family dynamics in this choral ensemble in the heat of the lengthy, pretentious monologues about self-sacrifice and other recognizable symbolism. The closest came in "Guardians of the Galaxy 2", but Shortland and the whole team do not have a task to peer into other universes - there would be to deal with themselves and their neighbors-earthlings. The authors also have no desire to diagnose another "Toretto syndrome", and thank God. Here the crunchy banalities may not finish speaking, but psychologically the heroes have become more honest, familiarly working out their relationships (the culmination, surprisingly, is the scene at the dinner table, and not explosions and disclosure of conspiracies at all).

The Widow also refers to Shortland's previous film, the war drama Laura. In it, the parents of the protagonist turn out to be Nazis, her familiar world is destroyed. It seems that after a while Romanoff learns about the alter ego of both fictitious ancestors, and the shock of selling himself into the hands of the KGB is not going to cancel. It remains to understand, perhaps forgive, but definitely change, despite the external noise and fireworks.

Marvel is also gradually evolving: it is still massive, sometimes self-ironic, almost always pompous, with all its might resorting to identifying itself through visual metaphors. But the studio's products are still pro and for the people in the audience, the help for personal stories minus the green screen. Excelsior, infinity is not the limit and other inviting mantras are good in moderation. Natasha Romanoff is pulled to the ground, we are together with her, and such an unusual trajectory makes it easier, charges with additional curiosity and certainly does not give reasons for fatigue by the incinerating Disney sun.

Info Blu-ray
Video
Codec: HEVC / H.265
Resolution: Native 4K (2160p)
HDR: HDR10
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1

Audio
English: Dolby Atmos
English: Dolby Digital 5.1

Subtitles
English SDH, French, Spanish, Japanese.