“Widows” heavily foregrounds its diverse, all-female heist crew, often leaning into contemporary identity focus. Some viewers may interpret this as prioritizing representation over more organic character development. At times, character backstories are thin, especially compared to the male counterparts in the classic heist genre. It appears that thematic statements about gender and race can overshadow tighter character arcs or realistic skill-building.

The film frequently frames traditional masculinity as either toxic, corrupt, or inept, while its female leads are depicted as victims-turned-heroes. Religious, family, and community structures are mostly absent or broken, presented through a critical lens. Some may see this as a broader commentary on society, but it undeniably subverts more classic cultural values and gender roles.

Alternative perspectives are given surface-level treatment, if at all. Dissenting views, especially from traditionally ‘non-woke’ angles, tend to come from corrupt or villainous men. The main cast largely embodies modern ideological assumptions, with minimal space for debate or genuine ideological diversity.