Gina Prince-Bythewood’s The Woman King (2022) is a war cry of an epic, starring Viola Davis as Nanisca, leader of Dahomey’s Agojie warriors, with Thuso Mbedu, Lashana Lynch, and John Boyega. This tale of African strength storms the screen. Does it conquer with glory, or stumble under scrutiny? As a critic who’s battled more historical epics than a warrior’s saga, I’ll say this: The Woman King is a blazing, soul-stirring triumph that wields Davis’ ferocity like a blade, though its historical liberties spark fiery debate.

Set in 1820s Dahomey, Nanisca trains Mbedu’s fiery Nawi to defend their kingdom against slavers and rival tribes, while Boyega’s King Ghezo navigates colonial shadows. Prince-Bythewood’s direction is a masterclass – a jungle ambush with whirling machetes is a visceral symphony – and Terence Blanchard’s score, pulsing with African drums, lifts your spirit. Davis’ Nanisca is a titan, her eyes blazing with pain and power, while Mbedu’s raw energy, Lynch’s fierce loyalty, and Boyega’s regal nuance light up the screen. The vibrant Dahomey sets – bustling markets, mud-brick palaces – pulse with life.

The film’s soul is its sisterhood, with a training montage blending dance and combat that’s pure cultural fire. Themes of resistance and sacrifice hit like war drums, and Nanisca’s backstory unveils gut-wrenching depth. At 135 minutes, political scenes slow the tempo, and the script’s glossing of Dahomey’s slave trade role draws heat for romanticizing history. Production efforts to honor African voices add authenticity, but melodramatic flourishes feel forced. The Woman King is a cinematic juggernaut, best in a packed theater with cheers erupting, but its liberties keep it from historical purity. Davis makes it royalty, flaws and all.

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