Oscar winner Viola Davis might have appeared in Suicide Squad and other DCEU properties, but The Woman King marks her first true superhero role. Her character ostensibly operates in the real world, but she and her fellow female warriors display a fierce fighting prowess that feels supernatural at times. Though based loosely in history, Gina Prince-Bythewood’s film has all the hallmarks of a franchise blockbuster — kickass action, fist-pumping triumphs, a rousing score, etc. — but it sets itself apart by centering Black women in its narrative, a sad rarity for a film of this scope. The Woman King is a crowd pleaser at its core, intent on entertaining the audience as much as elevating a story that many in its audience may not know (though they’ll probably still need to do a bit of research).
The two Black women at the heart of The Woman King are General Nanisca (Davis) and young Nawi (Thuso Mbedu). In west Africa in 1823, the kingdom of Dahomey is beset by both white invaders intent on enslaving its people and the Oyo, a neighboring African nation, who also want to sell the Dahomey people into slavery. The Dahomey’s leader, King Ghezo (John Boyega), looks to not only his traditional army of male soldiers for protection of his people; he also trusts the all-female Agojie to fight on his behalf, especially the venerated General Nanisca. A new group of recruits, including Nawi, begin training, depicted in inspiring sequences that will certainly send viewers googling “combat fitness” and “how do I get delts like Lashana Lynch?” That Captain Marvel actress co-stars as Izogie, a top lieutenant in Nanisca’s force, leading Nawi and other trainees through exercises and sharing the wisdom she’s learned in her fighting experience — and nearly stealing the movie in a star-making role that provides much of the film’s humor. Soon the freshly minted soldiers’ skills are tested, as the Dahomey kingdom falls under attack.
The Woman King takes some liberties with history in its script from Dana Stevens (that also features a story credit from … actress Maria Bello), particularly around slavery. The Dahomey kingdom also sold Africans into slavery, which the film acknowledges. Yet The Woman King has the fictional Nanisca fighting against the practice, which makes sense for a movie made in 2022 that wants you to root for its protagonists and their sisterhood. The larger issue with the script is Stevens’ uninspired dialogue, though the talented cast often makes it sound better than it actually is. An unnecessary romantic subplot featuring Nawi and a Brazilian slave trader Malik (Jordan Bolger) seems only to exist to ensure that a movie led by women has the requisite love story — and to show off Bolger’s physique. It’s just as silly and superfluous as when a male-led action movie has female eye candy, but, uhh, the women in my screening did not seem to mind his often shirtless appearances.
Despite the script issues, Prince-Bythewood’s direction and visuals make this an easy film to like. The Woman King looks great, with cinematography from Polly Morgan that captures both the exciting action sequences and gorgeously illuminates Black actors’ skin in a way that many movies still struggle with. Gersha Phillips’ costumes are impressively detailed, from their vibrant fabrics to the cowrie shells studding Nanisca’s woven leather, armor-like bra. Unlike most recent franchise blockbusters, this actually looks like a movie where people gave a damn, shot on location with a sense of realism embedded in each frame.
The Woman King feels akin to the historical epics from decades ago that racked up millions of dollars and awards alike, harkening back to movies like Braveheart and Gladiator in its grandeur as well as its grand themes. Female strength and sisterhood reign supreme here, and it’s nearly impossible not to be swayed by the power of the women on screen and their story. 
B+
“The Woman King” is in theaters Friday.
