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

'Baby Driver' Review

Nominated For: Best Film Editing, Best Sound Editing, and Best Sound Mixing.

Baby Driver follows the antics of Baby, a gifted getaway driver, as he meets a lovely diner waitress and seeks a way out of the criminal world upon falling in love. Once he's payed off his debt, Baby's brought in for one last job that puts his love, livelihood, and freedom on the line.

Edgar Wright is one of my favorite filmmakers working today because he consistently puts out unique quality content and I can confidently say Baby Driver doesn't disappoint. Baby Driver is the first film to be written and directed by Wright following his departure from Ant-Man, so it's understandable that quite a bit of pressure surrounded Wright on this project. Thankfully, Wright proves he's not out of gas though as he rampantly revs his creative engine and shifts gears to bring audiences a heist film unlike no other.

Baby Driver differentiates itself from the rest of its genre by becoming a jukebox musical straight from the get-go thanks to a kickin' soundtrack. From beginning to end, Baby Driver is driven by music with marvelous meticulously staged set pieces and mere movements choreographed to near perfection. When the action accelerates, the music crescendoes with an encroaching accelerando that will have your heart racing. Wright's song choices not only suit the stunts but often times fit the circumstances of the story as well. The soundtrack featuring the likes of Queen and The Beach Boys enhances the events in a way I'm unsure an orchestrated score possibly could, even though Steven Price composes high caliber pieces for the transitional sequences. 

Every single frame of Baby Driver was conscientiously constructed with the intention of not only matching music but popping with a visual flair you'll be hard pressed to find anywhere else this summer. The editing's exceptional, the cinematography captures the pristine and grungy look of Atlanta perfectly, the color palette's as rich as La La Land, and the practical car chases have more hustle and bustle than any Fast and Furious entry. Also don't discount the auditory arena as I'm assured the sound design showcased won't be topped this year.

To top all of this off, Wright's script is roaring with heart, humor, and unpredictability. You'll think you know exactly how things are gonna play out but Wright will boldly blindside you time and time again till the story seems like it's spiraling out of control. Wright keeps a steady hand on the wheel though, taking audiences on a wild ride they won't soon forget. One element I was rather impressed by was how Wright naturally incorporated the rockin' tunes into his high flying narrative. I always admire when music is not only integrated in a film to sound cool but to serve a story purpose and Baby's funky playlist helps drown out the hum of Baby's tinnitus. But Baby doesn't just listen to these tracks to help him function. He has a clear appreciation for every ditty on his infinite iPods and they fully form Baby as a compelling character. There's a lot more under the surface of Baby than meets the eye and Elgort communicates it all with a poignant balance. 

Ansel Elgort portrays Baby with a cool-headed charm and straight-faced silence. Those may sound contradictory but Elgort makes it work. I believe Elgort is stepping into the leading man phase of his career and I can't wait to see what he has in store. Opposite Elgort, Lily James's Debora exhibits the attitude of the southern sweetheart and will delight the audience the second she strides in the background humming "B-A-B-Y." As for their chemistry, Elgort and James set off a spark the moment they step into frame together with their congenial connection.

The tactical team amassed to pull off the heist changes from job to job but the faces you'll see a majority of the time are Jon Hamm and Eiza González's lovesick Buddy and Darling alongside Jamie Fox's deranged killer Bats. Hamm demonstrates the most range of the bunch as he snaps from a calm, collected criminal to an unhinged psychopath in a matter of seconds. In the back seat, González disdainfully files her nails with troublesome thoughts crossing her mind and Fox is dripping from head-to-toe with shameless swagger.

Kevin Spacey delivers deadpanned dialogue like no-one else as the ringleader Doc, imbuing a cold, calculating demeanor while incorporating a sardonic wit when possible. You're never sure where his loyalties lie so he's a fascinating character in this crazy car chase movie. Filling out the ensemble, Jon Bernthal ensures Griff comes across as a gruff gangster and Brogan Hall cleverly quips his way into a memorable role as Doc's snide nephew Samm.

It's not too often I finish a film eager to watch it again right then and there, but I just knew I had to back up and see Baby Driver again after my first viewing a month ago so I naturally sped into the theater again premiere night. After seeing Baby Driver twice, I'd compare the experience to cruising down an unfamiliar street. You go in search of something fresh and exciting and are pleasantly surprised to discover everything you hoped for, never missing a beat along the way. That's why Baby Driver's now my favorite film from Edgar Wright in addition to being my favorite film released this year.

Film Assessment: A+

'The Accountant' Review

The number of action franchises headlining middle aged men has surged in recent years as Liam Neeson has Taken, Keanu Reeves has John Wick, and Tom Cruise has Jack Reacher along with the Mission: Impossible franchise and whether The Accountant will blossom into a fully fleshed franchise remains to be seen but it certainly has the potential. 

The Accountant finds an autistic accountant Christian Wolff cooking the books for dangerous global criminal organizations, but this accountant also happens to have the combat training of a highly skilled assassin thanks to his militaristic upbringing, and as he uncovers the truth of a discrepancy in a robotics firm's numbers he finds himself in the crosshairs and must use his accounting abilities and tactile combat skills to bring down this corrupt company. 

The Accountant is directed by Gavin O'Connor and O'Connor shows a knack for piecing everything together, really getting the viewer inside Christian Wolff's headspace. O'Connor seemingly accurately and respectfully depicts individuals with autism and does a superb job directing action. The action sequences were all well choreographed, intense, and quite unique from typical action considering there's no shaky-cam used. 

Bill Dubuque's screenplay on the other hand has it's ups and it's downs. Dubuque does an excellent job in regards to crafting a thrilling original narrative that thinks outside the box by making an ordinary CPA an action hero and he also handles flashbacks well by making them integral to the ongoing story. My one qualms are the extraneous plot lines involving a U.S. Treasury investigation that I'd have preferred not been included in the film to keep more focus on Ben Affleck's Christian Wolff and that some of the twists were a little predictable due to subtle foreshadowing. Other than those minuscule nitpicks the film is remarkably entertaining. The Accountant boasts a talented ensemble cast who elevate some of the weaker portions of the script. 

Ben Affleck has definitely proven himself capable of providing consistently noteworthy performances after temporarily hanging up his cowl to conquer another interesting action hero. Affleck plays Wolff with a dual personality of sorts verging into a serious extraordinary assassin and his socially awkward autistic accountant, both sides of the coin play off one another and he's convincing in both personas. If anything could rev up my anticipation for the Batman solo film he's directing and starring in, it was seeing him at work here. 

Anna Kendrick plays a lively accountant Dana Cummings and she fills the requirements of the role playing well off Affleck, as the two share some great chemistry providing some of the more humorous bits. 

Elsewhere, I was really impressed with Seth Lee who played the Young Chris and was convincing in his portrayal of emotional outbursts and the autistic tendencies. 

J.K. Simmons, Cynthia Addai-Robinson, and Jon Bernthal are all fantastic in the capacity used, playing up their normal sensibilities so there's nothing outside the realm of expectations set for them but they measure up to what's provided. Don't expect too much from Jeffrey Tambor or John Lithgow because they are essentially cameo appearances. 

In summary, The Accountant is an interesting action thriller that thinks outside the box, respectfully depicting individuals suffering from disabilities while also providing amazing action, prodigious performances, and strong direction. It's just the type of originality Hollywood needs right now and is the type of action film that is worth spawning a franchise around.

Film Assessment: A-