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