This movie has the plot of a thriller, but it doesn't feel like a thriller.
The opening sequences build a familiar situation. The hero is ready to make a better life for herself but is pulled back into her old life for one last score. The middle of the film tightens the screws. Every time she takes two steps forward she must take one step back . . . and sometimes two steps back. The climax and conclusion are full of breathless suspense and terrifying threats.
And yet, it doesn't feel like a thriller. There is no escapism for the audience. The circumstances are not exotic. The hero has no superpowers, The stakes are personal, not global. It's a movie about a working woman and her sister. They've had some hard knocks, they've made some mistakes, but mostly they've done their best.
In other words it's a movie about real people in real trouble doing what real people do. It is carried by a luminous performance from Tessa Thompson. And, as many critics have said, the fact that this is a debut for Nia DaCosta as both writer and director is astonishing.
Both for its craftsmanship and its realism, it feels more like mid-Twentieth-Century realism from dramatists such as Cliff Odets, Lillian Hellman, and Arthur Miller even as its subject matter seems ripped from the headlines. That is indeed high praise.