Sicario

The wait is over. Since the trailer came out, I watched it several times a week. That's how hyped up I was. I finally got to watch Sicario, Denis Villeneuve's latest film. It got a very positive reception at the Cannes festival, and got tons of praise from movie critics worldwide.

My very first recommendation to anyone interested in watching this film is to not watch the trailer, or don't watch it repeatedly like I did. Although it's incredibly exciting, it gives way too much away. Sicario basically consists of approximately 6-7 set-pieces. The trailer shows key moments from all the set-pieces, and leaves you knowing almost just as much about the story as you'll get to know watching the actual film.

Sicario features a pretty thin storyline, but to its defence, it's all part of a tactical approach at keeping things blurry, shady, and mysterious to the audience. Metaphorically, these mechanisms serve the story pretty well, as we watch official government agencies use unorthodox methods and people in this bloody war against the cartels, and the intent is to offer a glimpse at an ongoing situation and let the viewer's imagination fill in the blanks.

That came off as a bit of an odd artistic choice to me, as, in recent years, several films and TV shows have thoroughly explored all the horrors resulting from the war against drugs at the border area between the U.S. and Mexico. It's not exactly a brand new subject matter to worldwide audiences. My point, basically, is that it's an odd timing to choose such a broad approach to a subject that has become familiar to the masses. When my imagination had to fill in the blanks, it basically did it with memories of other films and TV shows exploiting the very same subject matter, and that dug deeper into it.

All the technical aspects of Sicario are off the charts. Denis Villeneuve's directing is spectacular. The sequence with the convoy of SUVs in Juarez has to rank among the most beautifully shot scenes that we have seen in a while, with a combination of breath-taking shots of Mexican landscapes, Juarez and its streets, incredible tension building up inside the vehicles, and how the different characters handle it. Roger Deakin's cinematography is flawless, as expected. Whether portraying a dry, sunny afternoon in Arizona or a nightly tactical operation with agents wearing night vision goggles, Deakins' contribution shines in every possible way. The same can be said about the soundtrack and the editing.

One thing that truly surprised me is how Sicario makes its point. It is intended to leave you with an overall impression on a global situation (the border war, the cartels, the way government agencies operate, etc.), and the actual story and characters become purposely subsidiary in that depiction of a broader picture. This is just another day in this war, just another set of dirty tactics, just another escalation of violence, just another dozen of people among thousands doing shady things in this mess of a war on drugs.

And if there is one flaw to this film, that's where it lies, in my humble opinion. Characters and storyline are fundamentals. Without saying that these two aspects were neglected, I feel like this is where Villeneuve's film could have reached that next level, but unfortunately didn't, by keeping everything so vague, and so volatile.

I'm not going to sugar coat it: Emily Blunt's character is one-dimensional. Her performance is good, but the character has a very simple purpose in the whole picture, and it never goes beyond that. Some secondary characters get enough screen time to let you think that they'll eventually have a true impact on the story, or be part of some sub-plot. Here again, some minor disappointments as a result. Again, it's part of a mechanism to make everyone look like a tiny dot in the big picture, but prevented me from being truly compelled by the story unfolding and most of the characters that were part of it.

Josh Brolin's and Benicio Del Toro's performances are both amazing, though. Again, you do not get to know a lot about them. That being said, the few times when you get to see more than just what's on the surface, you'll get enough hints to partly understand their true nature. But again, you'll notice that I had to use the word "partly", especially when it comes to Brolin's character. A lot is left unexplained. And while this opens up a world of possibilities where speculations get darker by the minute, I was left wanting to know more when the credits started rolling.

Overall, Sicario succeeded in leaving me feeling deceived, just like I was an extension of Kate Macer. The way it operates is quite unique, as a lot of unexplained details, characters, and events leave the viewer speculating in an environment filled with lies, shadiness, and broken ideals. The visuals and the soundtrack will blow you away. Also, the final scene was a perfect way to seal the deal, and goes perfectly in line with the "big picture" approach that this film takes.

Overall, a very entertaining drama/thriller, full of technical brilliance, and some slightly flawed fundamentals. Definitely worth a watch.

Sicario ('Hitman' in Mexican) is well worth your viewing time. The ever- reliable Emily Blunt excels here as FBI agent and hostage specialist Kate Macer. After a gruesome discovery in Phoenix, Kate becomes an idealistic fish-out-of-water in a complex CIA mission, run by Matt Graver (Josh Brolin) against a notorious Mexican drug cartel. Key to the mission is Columbian-born Alejandro (Benicio del Toro): a man with a tragic past that directly guides his future. To tell more would spoil what is a dense and complex storyline that evolves in a most satisfactory manner.

The acting is superb, with Blunt giving a career-best performance (sadly overlooked by the major awards), Josh Brolin being convincing as the war-weathered CIA man and Benicio del Toro delivering his best stone cold killer in gripping style. His Best Supporting Actor Oscar nomination is well deserved, albeit for the maintenance of a fairly standard and chilling expression. Finally a name to watch for the future is London-born Daniel Kaluuya as Macer's black FBI colleague frustrated at being sidelined as a 'spare' by the task force.

Equally praiseworthy is the epic cinematography of Roger Deakin ("Skyfall", "No Country for Old Men") which is also Oscar nominated. Remarkable landscapes of the Mexican border are supported by breathtaking helicopter/drone shots of the CIA convoy of black vehicles in one of the tenser moments in the film. Outstanding (for both direction, editing and cinematography) is a scene set in and around a tunnel that is the best satellite/night vision scene since the 'electronic battlefield' in "Patriot Games" in 1992.

The Oscar-nominated music by Jóhann Jóhannsson (so good with "The Theory of Everything") is of the atonal electronic variety, undoubtedly effective in conveying the film's mood but difficult to compare against the more obvious Oscar nominations from the likes of Ennio Morricone and John Williams.

Directed by Denis Villeneuve (who specialises in single named features) this is a tense, intelligent and thought-providing film that does nothing for Mexico's tourist industry but a lot for Trump's presidential campaign!

Often brutal, this is not an easy film to watch. But it is a highly intelligent watch, requiring your full attention throughout, and is deserving of a place among the best films of 2015. Recommended.

(Please visit bob-the-movie-man.com for the graphical version of this review. Thanks).

One of those select few thrillers that will have your eyes stuck to the screen from the opening credits to the very end, and I mean that literally: I changed my sitting position many times during the film, yet I clearly recall never ever turning my head away from the film, this is how intense it is.

With this Denis Villenueve has now consolidated his name as one of most important and gifted directors of our time and has shown us he is here to stay. I truly marvel at how this film is so tightly put together and even despite it faults, which it has, especially in script, it just never gives you a chance to breathe and take it all in, thanks to the atmosphere that is established from shot one until the last one, you are always anticipating something's going to happen and that is the sign you are watching a great thriller. You are always on the edge of your seat and in some occasions you are really biting your knuckles. The movie has a way to throw you into the action that is really rare to find, especially in a highway sequence where I literally felt I was there.

All of this is achieved thanks to probably the best cinematography of this whole year. Deakins does it again, once more playing with a lot of blacks and shadows and once more succeeding one hundred percent. Also remarkable is the use of helicopter shots which don't feel like connective tissue, but actually part of the organic, that's something really hard to pull off. The sound design of this film is flat out amazing, some of the best I have truly ever had the pleasure to experience. It is so in you face, so tight, it really contributes in making you feel a part of this even in the more intimate scenes. Music too is also excellent and while some may say it was a little too ominous and dark I felt it matched the tone perfectly and enhanced some parts magnificently, contributing to a nail-biting building of tension.

Of course one couldn't get past reviewing this film without nominating the three great performances at its center. Del Toro, Brolin and Blunt are each better than the other and continue stealing the screen to themselves scene after scene. There really isn't one stand out, the three of them just excel sky high and give depth to characters that are interesting. The characters are really what holds the film together, they are truly developed three dimensionally and explored in depths that aren't normally reached.

What makes the film stumble is the fact that in never has a good enough plot to make things as interesting as they should be. It really has a hard time in setting up which way it's going and in the end it actually doesn't end up with a satisfying resolution. You are certainly left with something to think about because of the themes, the characters, the atmosphere and the intensity, but all in all the plot doesn't offer interesting turns and not enough moral questioning, unlike "Prisoners", and so remains slightly one-note for the whole duration. It also has a totally useless character in Blunt's partner, which other than never understanding why he was there or what was his arch in the film, I never understood how he was being played.

Still there is nothing short of amazing in what Villenueve achieves in two hours. What could have been a screenplay turned into a very generic police drama, is actually one of the most atmospheric and tense movies of the year.

Feverishly satisfying with pulse-pounding energy that's sure to give your heart its full day's work, Denis Villenueve's masterful "Sicario" with Emily Blunt, Benicio del Toro, and Josh Brolin is an edge of your seat thriller that exemplifies the finest parts of the action genre. Filled with mystery, suspense, and outstanding performances, Villenueve's direction, along a tight script by Taylor Sheridan, brings a much needed sense of technique and art that's been sorely missing from the 2015 movie year.

"Sicario" tells the story of an idealistic FBI agent names Kate (Blunt), who is enlisted by an elected government task force to aid in the escalating war against drugs at the border area between the U.S. and Mexico. With the "guidance" of a mysterious agent Alejandro (Del Toro) and her superior Matt (Brolin), and influx of intrigue and morals will shake Kate to her very core.

First and foremost, "Sicario" breathes new life into contemporary cinematography, as produced by no less than the great Roger Deakins. A vessel for God's eye on the world, Deakins ignites the fire of his vision, capturing some of the finest shots seen this decade. His use of shadows, CGI, and choices in which to convey and portray emotions is downright genius. Becoming essentially another character in the story, Deakins gives a master's class on cinematography for future craftsmen and women to behold. It's a work that will surely land him his thirteenth Oscar nomination.

Above that, we are treated to fantastic and awards worthy performances. Emily Blunt, as seen in nearly everything she touches, shows herself as one of the most interesting and endearing actresses working today. Her courage and vulnerability for Kate is personified by Blunt's ability to connect with the character's soul. She lays into Kate calmly, echoing great performances like Jessica Chastain in "Zero Dark Thirty" but with more reserve.

Benicio Del Toro is downright magnificent. As Alejandro, he delivers his best performance since "21 Grams." A dedicated sensation that calls back to all types of performances such as Javier Bardem in "No Country for Old Men" or Gene Hackman in "The French Connection." You won't be able to take your eyes off him. Josh Brolin utilizes every ounce of his charm that has made him one of the most sought after actor's in the business. A memorable, though understated and undervalued character that you do want more clarity about. Other cast members like Jon Bernthal, Jeffrey Donovan, Victor Garber, and especially Daniel Kaluuya are given their fair share of opportunity, which all take well.

As a technical endeavor, "Sicario" also succeeds in its vibrantly living sound design, and illustrious score by Academy Award nominee Jóhann Jóhannsson. The two are married in a blistering union of tension and heart palpitations. Editor Joe Walker is a shining star behind the scenes as well, thanks to his precision and patience in bringing a scene right to the edge, and knowing when and where to take it next. It's his most innovative work yet, even surpassing his nominated work on "12 Years a Slave."

Goes without saying that "Sicario" is Denis Villenueve's best work to date. Coming from someone that thoroughly enjoyed "Prisoners" and tolerated "Enemy," this is his most accessible and compelling piece. If anything, he's just so damn exciting to watch these days, as he locates strange vehicles for actor's and craftsmen to come together. He takes on a genre that may feel familiar, like the drug cartel, but makes it feel new and smart.

"Sicario" is hands down one of the year's best films.

This is like the stuff you see on hour long serialized Television like Netflix's Narcos, but instead this police like drama is done in a two hour movie instead of thirteenth episodes.

Emily Blunt was amazing in her character, a good FBI agent who feels she's not doing enough on the streets and allows herself to get used by someone with more power, played by Josh Brolin brilliantly as a man who seems uncharismatic about his job in order to hide the covert nature of his mission to find the big man responsible for all the street crime.

Brolin played a necessary evil, that comes off brilliantly in the narrative that plays out. Loved how they go from the bottom and get to the very top. It's very surgical.

But the actor who stole the show in Sicario is Benicio del Toro whose character Alejandro, is a cloud of mystery that unravels slowly through the film, done both subtle and dramatic by Del Toro. Every time he was on the screen even when he did nothing he was doing something and you he demanded your attention.

Plus the music and sound combo of the movie added to the tension. it was powerful.

Incredible action-thriller.