'Sicario: Day of the Soldado' Review

As the drug war on the U.S.-Mexico border rages on, cartels are suspected to be trafficking terrorists across the U.S. border. Sicario: Day of the Soldado escorts federal agent Matt Graver as he re-teams with the mysterious mercenary Alejandro to stage conflict between the cartels in response to the rising threat. However, in order to initiate the dispute, they must covertly kidnap the daughter of a Mexican crime lord under the guise of a rival cartel.

Sicario: Day of the Soldado effectively serves as a sequel to Sicario (although it's made more in the vein of a spin-off), and I've honestly questioned its existence ever since it was announced. This was primarily because key creatives Denis Villeneuve, Emily Blunt, Roger Deakins, and Jóhann Jóhannsson wouldn't be returning, and I must say their absence was sorely felt, but also because Day of the Soldado felt largely unnecessary. Sicario just didn't seem like a film that should be franchised due to its prestige and status as a gritty standalone story, but clearly someone else thought otherwise and here we are... Taking charge, Stefano Sollima substitutes for Villeneuve in the directors chair while Taylor Sheridan is one of the few holdovers from the first film as the sequel's credited screenwriter. 

Since Sheridan was sticking around, I held out hope this sequel might at least have a solid foundation in the form of a bang-up script. For the past three years, all three of Sheridan's sole screenplays which culminated in his "Frontier Trilogy" (Sicario, Hell or High Water, and Wind River) have been tremendous crime thrillers with a western tinge and gritty sentimentality. Unfortunately though, Sheridan's Day of the Soldado screenplay proved to be very run-of-the-mill in comparison to his previous efforts. The opening is fairly strong, but it all gets caught up in the bureaucracy behind the mission as opposed to the actual plot at hand. Speaking of plot, there's not really a satisfying resolution to the events whatsoever... It just kind of ends, and it felt like Sheridan wasn't sure of the direction he was headed. The ending is also total sequel-bait and was so stupid that I'm no longer interested in a planned Sicario 3 whatsoever. 

With a sequel, I think it’s important to retain some semblance of the original’s identity. Considering several key creative forces from the first film left, that automatically meant there were some big shoes to fill. I'd say it should have been a red flag that this film probably shouldn't have been made, but I'm not exactly a studio executive or Taylor Sheridan, am I? It's not even like the sequel just lost ordinary talent and needed replacements though. Denis Villeneuve, Roger Deakins, and Jóhann Jóhannsson are among the best directors, cinematographers, and composers who have worked in Hollywood of late. Sadly, Jóhann Jóhannsson died in February of this year so his absence couldn't really have been helped much (although I can't verify anywhere online if he was ever to involved in Day of the Soldado or not). In spite of the criticisms I've voiced so far and those I'm about to elaborate on, I really respect the filmmakers for including an "in-memorium" title card for Jóhann Jóhannsson during the credits. It was a very sweet, admirable thing for them to include that they didn't have to do, and it meant a lot to me as a film score junkie and fan of Jóhannsson's work. 

Anyways, sorry for that depressing detour, but I've listened to Jóhannsson's scores for Sicario and Arrival countless times and really appreciated his unique style as a composer. To get back on track, I read that director Stefano Sollima actually made the decision to enlist an entirely fresh crew to further distance himself from the first film and the producers agreed it would be for the best. This meant that the sequel essentially scrapped all creative forces other from Sheridan and specific cast members. Sollima, Dariusz Wolski, and Hildur Guðnadóttir were brought in to respectively direct, photograph, and compose, but you just can't beat the triple-punch of Villeneuve, Deakins, and Jóhannsson. I'd say there's no need for a comparison, but as I watched, it became abundantly clear that they were attempting to recreate what had come before them. However, those three individuals are masters of the craft and it's incredibly difficult to replicate their work so it comes off as cheap, hollow imitation. 

And that is precisely the origin of Day of the Soldado's identity crisis. It strives to be different from the original, yet tries to do things similarly and only come across as vastly inferior. Instead of being another tense, gritty crime thriller, Day of the Soldado wound up being no different from any other generic action-thriller you might find in Walmart's bargain bin. A large part of what made the original special was that it kept its protagonist and the audience in the dark. The tension was derived from a feeling of uncertainty, but almost everything in Day of the Soldado is simple and straightforward. I didn't necessarily require it to be incredibly complex to enjoy it, but it never felt like it was building towards anything and is nowhere near as effective at stirring the tension. Therefore, it was a very tedious two hours for me.

On a brighter note, the acting in Sicario: Day of the Soldado mostly rises above the film's other problems. At the forefront, Benicio Del Toro turns in another excellent performance as the film's titular silent hitman ("Sicario" means "hitman" for those confused) and once again plays Alejandro as the strong, silent type. He comes across as cold and calculating when things get tough, but watching him unshed some of the character's humanity in the film's quieter moments was absolutely incredible. Del Toro truly is one of the best working actors today and it really shines through this otherwise lackluster sequel. You also may or may not recognize Isabela Moner, but she broke onto the scene last year in Transformers: The Last Knight and is set to star in Dora and the Lost City of Gold. A lot is asked of Moner, but she delivers the necessary range as a revelation who joins the wave of young talent to emerge in recent years.

Meanwhile, Josh Brolin has had a huge year between his leading roles as Thanos and Cable in Avengers: Infinity War and Deadpool 2 respectively. While not quite as mainstream as his comic-book forays this year, Day of the Soldado brought what many are calling "The Summer of Brolin" to a close with his final role for the year of 2018. In regards to his performance, Brolin's macho physicality works in favor of the film's action and Brolin succeeds at being both charming and terrifying dependent on whatever the role requires. Although he's a bit underutilized in the second half, I was happy to see him bring his A-game. However, it was a character played by Elijah Rodriguez that I wasn't particularly onboard with. It's only Rodriguez's second feature role, and he's only a teenager, but I felt he lacked the necessary acting ability and the writing behind his character didn't do him any favors. About everyone else is essentially relegated to smaller supporting status including the likes of experienced actors Jeffrey Donovan, Matthew Modine, Catherine Keener, and Manuel Garcia who make the most of everything that's offered to them.

At the end of the day, Sicario: Day of the Soldado is just another subpar sequel which made me appreciate its predecessor even more. It ultimately couldn't decide what it wanted to be or why it needed to exist, and that aimless approach made my experience all the more infuriating. One could probably argue that Day of the Soldado is a competently made film in certain areas, and I'd certainly agree that there are specific bright spots throughout, but it was such a sludge to sit through that I have a hard time forgiving it for much of anything.

Film Assessment: C-

Recollection Reflection Review: 'Sicario'

Sorry that this review's delayed, but I had my wisdom teeth removed last Wednesday and rewatched Sicario later than anticipated as a result. With the recent release of a sequel, I figured I might revisit the original and provide my updated thoughts. Since we've passed the midway point of 2018, I'l be recapping my favorite and least favorite films of the year fairly soon in addition to providing an updated ranking of the Marvel films once I've seen Ant-Man and the Wasp. In the meantime, you can look forward to Throwback Thursday Reviews of Mission: Impossible III, The Equalizer, and Mamma Mia!, Triple-R Reviews for Ant-Man, Mission: Impossible - Ghost Protocol, and Mission: Impossible - Rogue Nation, and reviews of new releases Sicario: Day of the Soldado, Ant-Man and the Wasp, Skyscraper, The Equalizer 2, Mamma Mia! Here We Go Again, Mission: Impossible - Fallout, and Teen Titans Go! To The Movies.

'Sicario' Review

Nominated For: Best Original Score, Best Cinematography, and Best Sound Editing.

Recollection- Sicario Review

Reflection- I actually never saw Sicario in theaters. I remember having an urge to see it based on the cast and buzz surrounding it, but didn't get around to it till much later. I didn't catch Sicario till it was released on Blu-Ray and actually picked it up at Best Buy because I saw it was marked down substantially for a New Years 2016 sale. I watched it soon afterwards and was immensely satisfied with it. Interestingly enough, this was my introduction to Denis Villenueve and I've been a huge fan of every film he's made since. I still need to find time to watch the rest of his filmography, but I'm sure I'll get to it eventually. Anyways, I wanted to re-review the film because I looked back and saw that my first review hardly scratched the surface. Knowing there was huge room for improvement and the timing was right with the release of its sequel, I decided to rewatch the film and write this Triple-R Review.

Review- Sicario accompanies an idealistic FBI agent named Kate as she's enlisted by a government task force to aid in the escalating war on drugs at the border between the United States and Mexico. Led by an enigmatic consultant, the team sets out on a clandestine journey that forces Kate to question everything she believes in order to survive.

Sicario was directed by Denis Villenuve and featured the first feature screenplay to be written by Taylor Sheridan. In the time since, the two filmmakers have annually been responsible for some of my favorite films to be released (this includes Arrival and Blade Runner 2049 from Villeneuve and Hell or High Water and Wind River from Sheridan). As a director, Villeneuve seems to thrive in the subtlety of letting a story slowly unfold, a talent that serves him well here.

Fundamentally, Sicario is a brilliant exercise in authentically building tension. There's an over-looming sense of dread and paranoia established at the onset that never really goes away. Villeneuve plays with the perspective of the protagonist in fascinating ways by keeping Kate and the audience completely in the dark. Both the audience and Kate know something bad is coming. It's just a matter of when. Because of this, the slightest movement in the background will catch your eye and put you even further on edge. It seems to capture the experience of this clandestine lifestyle in a way that's invigorating and authentic. The scene in which the characters must cross the U.S.-Mexican border is a masterful demonstration of this technique coming to fruition. The uneasiness originates from Jóhann Jóhannsson's nail-biting score as the music propels the narrative forward and accentuates the suspenseful ambiance.

Unfortunately, Jóhannsson passed earlier this year of an overdose, so may he forever rest in peace as an extraordinary film composer whose unique sound was and forever will be unparalleled. The tense proceedings are then further enhanced by the film's narrative drive. Villeneuve is also aided by Sheridan's script, Roger Deakins' cinematography, Joe Walker's editing, and some sensational sound design work. Everything coalesces in a masterful, slow-burn crime thriller. For all the outbursts of intensity, there are preceding scenes of serene quietness. The audience and the characters both seem to recognize that it's the calm before the storm, and that storm isn't for the faint-hearted. Like Kate, the audience is treading into treacherous waters, and there are horrific truths underneath the surface which are uncovered slowly, but steadily. Ultimately, the violence is gruesome, grungy, and unnerving on account of its realism. 

Leading the film, Emily Blunt offers what many consider a career-best performance, and I can certainly agree that she was quite deserving of an Oscar nomination that year at the very least. Blunt expertly conveys Kate's internal imbalance as she ventures closer to the truth and expresses the manifestation of trauma and pain remarkably well.

Alongside Blunt, Josh Brolin and Benicio Del Toro play a pair of shady operatives. The sleazy charm of Brolin's Matt Graver works wonders while the enigma surrounding Del Toro's Alejandro will knaw at your insides. Del Toro leans heavily into the mysterious nature of the character which winds up making him all the more intimidating as the plot proceeds. Meanwhile, I must say it was neat to spot Victor Garber, Jon Bernthal, and Daniel Kaluuya whom I've come to appreciate in various other television series and films. They're not given a lot to do in the grand scheme of things, but I appreciated their involvement and willingness to elevate the material provided to them. 

Sicario falters most for me in regards to pacing, as it's occasionally too slow for its own good. Otherwise, it's an outstanding crime thriller that's unafraid to explore the gritty shades of gray morality. 

Film Assessment: A

'Wind River' Review

Wind River follows U.S. fish and wildlife agent Cory Lambert as he discovers a frozen corpse in the frigid forest of the Wyoming Wind River Indian Reservation. When he reports it into the local authorities, FBI agent Jane Banner is sent in to investigate the murder alongside the reservation's police force. Due to her unfamiliarity with the harsh landscape, Banner teams up with Lambert in hopes they can find the culprit. 

Wind River is written and directed by Taylor Sheridan, the screenwriter behind the recent strong Sicario and Hell or High Water screenplays. All three films are crime thrillers and Sheridan has steadily traversed sketchy subject matter ranging from Mexican drug cartels to Texan bank robberies to a murder in a Wyoming Native America reservation. Sheridan's advanced north geographically and slowly made his way further west in regards to his crime dramas. Sicario relished in suspense, Hell or High Water delighted in moral conflict, and Wind River savors an unforgiving environment. Wind River is first and foremost a crime thriller, but the underlining western sensibilities ring true.

In conjunction with his cinematographer Ben Richardson, Sheridan frames the icy surroundings as bleak and lifeless as if to say the weather affected the attitude of the inhabitants. Despite the destitute demeanor of the domain, Richardson still manages to muster together some beautiful shot compositions akin to Lubezki's illustrious images from The Revenant (albeit, without the constraints of filming purely with natural light). An element of the camerawork that I found particularly fitting was how some shots were taken from amidst the brush to mimick a predator's point-of-view. While Wind River is hardly the first film to utilize secluded shots like this, it tied in exceptionally well considering Lambert is a hunter. Lambert and Banner are on a hunt to find the person responsible for this heinous act, and throwing in the possibility that the characters are being watched added an element of intrigue.

Nick Cave and Warren Ellis' score then reflects this aesthetic with a a haunting, ethereal sound evoking the toll an inhospitable territory can take on one's soul. The story's quite straightforward, but I won't really go into that because the best part of a crime drama is watching the investigation unfold. Sheridan's screenplay follows the suit of his preceding scripts as he once again captures the intricate actualities of his characters' humanity. Sheridan's quite gifted in that regard, and so it goes without saying that I can't wait to see what he does next!

Jeremy Renner imbues Cory Lambert with plenty of emotional nuance, making him out to be a man hardened by the experiences he's endured. Renner plays the part exceptionally well as one of his more complex roles to date. Alongside him, Elizabeth Olsen accentuates a determined spirit in spite of Jane Banner's inexperience that throws her straight into the action. Olsen isn't afforded as much to do when compared to Renner, but her established rapport with the Avengers costar carries over nicely. Meanwhile, Gill Birmingham and Graham Greene also turn in proficient supporting performances as the victim's father Martin and the head of the reservation police Ben. 

In summary, Taylor Sheridan seems to be well in his element for his second directorial feature, and I won't be surprised to see Wind River accumulate some awards love later in the year. In line with the snowy surroundings, Wind River's harsh and relentless storytelling paints a harrowing, realistic picture audiences would be hard-pressed to forget. 

Film Assessment: A

'Hell or High Water' Review

Nominated For: Best Picture, Best Supporting Actor; Jeff Bridges, Best Original Screenplay, and Best Film Editing.

Hell or High Water is a crime drama that focuses on a pair of brothers, recent divorcee Toby Howard and ex-con Tanner, executing a series of bank robberies to prevent their family land from being foreclosed. Hell or High Water has been the one of the more heavily discussed awards geared films over the later portion of the summer since it premiered at the Un Certain Regard of 2016's Canne's Film Festival, therefore I thought that it seemed like a must-see from it's massive surge of critical praise. 

David Mackenzie directs and maintains focus on the core characters to great effect as they traverse gray morality in their actions. Taylor Sheridan pens the screenplay after his screenwriting debut in last year's Sicario and expertly incorporates classic western themes about the bank against the common man. Giles Nuttgens' cinematography and the score composed by Nick Cave and Warren Ellis evoke western spirit with desolate landscapes and a hopeful atmosphere paralleling the underlying messages from Sheridan's script. 

Hell or High Water also features superb showings from it's talented cast. Chris Pine has probably one of the more compelling characters of the bunch as his Toby Howard is constantly questioning the morality of the brothers' actions and Pine is remarkable at conveying those sensibilities with an effective balance of charm and reservation. Ben Foster's Tanner is a scumbag and Foster brings revolting qualities to his character as he shows disregard to the people harmed in their heists. Pine and Foster play well off one another with their contrasting personalities and characterizations allowing for some introspective conflict between the pair's morality. 

Jeff Bridges brings the classic wise maverick in his portrayal of Marcus Hamilton, an aging Texas Ranger on the verge of retirement looking for adventure where he can find it. Bridges has some great moments of sincerity and levity, albeit some darker humor poking fun at his partner. 

In conclusion, Hell or High Water is an interesting mix of the classic western spirit and a modern day setting that's focus on character and dialogue keep it true to form. Hell or High Water may feels similar to films of it's genre but it's an incredible demonstration of great direction, an excellent screenplay, and tremendous performances. 

Film Assessment: B+