As the opening crawl began for The Woman King, establishing the setting for the story that is about to unfold, I felt uncomfortable about it. There was something about the narrator reading this crawl like a children’s book in a seemingly fabricated African accent that made this style of opening for the film feel cheap. And while I don’t necessarily need the bombastic nature of a Star Wars opening crawl to pull me into setting the stage for a film, this choice for The Woman King felt odd, off putting, and - for lack of a better word - lazy.

It would be a shame to judge a whole film off of a poor first impression, but I harp on my problems with this opening crawl because there are truths that I had to come to terms with as I watched the film. One of those truths, unfortunately, was that my discontentment with these opening minutes leading into the film’s first scene was only reinforced by the deficiency of the technical aspects of the film. The Woman King might succeed as an end-of-summer, crowd pleasing blockbuster, but it’s the underdeveloped production value of the film that nearly upstages the undeniably powerful performances displayed in this somewhat clunky action epic.

In The Woman King, a young, rebellious orphan in the kingdom of Dahomey, Nawi played by Thuso Mbedu (The Underground Railroad), petitions to become a part of her community’s all-female warrior tribe, the Agojie, to escape her abusive home and unwanted prospects for arranged marriage. The Agojie is lead by the fierce and unwavering warrior, Nanisca (Viola Davis, The Suicide Squad), who has to protect their community from the relentless Oyo Empire and the invading Porteguese slave traders, all while grappleing with the morality of Dahomey’s own slave trade system. Although Nawi proves herself in completing the Agojie’s grueling training program, she routinely fails to comply with the army’s rules, causing a peculiar friction between her and Nanisca. Eventually, secrets come to light and conflicts mount between characters as intense combat between the Agojie and their foes ensue.

As you can imagine, this is a harrowing premise that lends itself to being one of the most crowd pleasing, female empowering, action packed films of the year - all of which theoretically made The Woman King a prime selection for screening at TIFF ahead of its nationwide release. But the final product is assembled as if it’s a first or second draft of the film. I found myself bewildered by many editing choices, with continuity and flow between cuts being a recurring issue. Action sequences entertain, but also lack teeth or grit as they prioritize spinning and twirling showmanship over believable combat; furthermore, the reduced presence of blood might play well for a PG-13 audience, but does not match the vicious attitudes of these warriors. And while the warrior and native costume designs are exquisite, outfits for other characters like the Portuguese slave traders appeared more like old European cosplay.

It’s possible that you will read this review, see the film for yourself, and chalk much of these critiques up to my personal preferences in filmmaking and storytelling inhibiting my enjoyment of the film. Because ultimately, another truth I’ve realized is that many of these details that stick out like a sore thumb to me are things most audiences may be unaffected by. The Woman King does a good enough job at curating rousing moments that many will find it easy to forgive or overlook the film’s flaws.

But the undeniable truth with The Woman King is that it contains some of the best acting performances of the year. Viola Davis is an absolute showstopper. Bearing the physicality of a cold-blooded brute and the demeanor of a focused, steadfast leader, she is a tour de force every moment she’s on screen. It further works to her benefit that Davis is surrounded by an impressive supporting cast of female warriors. Mbedu instills a fiery attitude in her portrayal of Nawi that can be both audacious and alluring - not to mention that she’s given a rousing standout moment at a critical point in the story. And seasoned Agojie warriors played by Lashana Lynch and Sheila Atim also get their own moments to shine throughout the film, exuding fierce yet charming personalities that make their companionship with Nanisca and Nawi a satisfying component of the film.

The unfortunate combination of praiseworthy performances and poor production value leaves me in mixed territory for The Woman King. To call this film unassuming would be a criminal disservice to the astounding performances it hosts. But I found there to be significantly more quality built into the final cut of The Woman King’s trailer than there is the film itself. For those, however, who are not concerned with nitpicking over technical details, The Woman King is an inspiring cinematic experience full of challenges and triumphs; emotionally stirring and eager to entertain. Whether it be the action, the performances, or the endorsement of female power and African culture, The Woman King offers something for everyone to appreciate, and that is something about this film that I feel is the ultimate truth.

Acting and Casting - 2 | Visual Effects and Editing - 0 | Story and Message - 1 | Entertainment Value - 1 | Music Score and Soundtrack - 1 | Reviewer's Preference - 1 | What does this mean?