“Sicario” has nothing to do with war in the Middle East, or with tracking down Bin Laden. However, the film is taut, purposeful, and feels in every way as if it were directed by Kathryn Bigelow. That’s a compliment. It’s actually directed by Denis Villeneuve, who helmed the fantastic “Prisoners,” and infuses just the right amount of intrigue, slow-pace, and indie filmmaking to make it a unique and authentic look at an idealistic FBI agent, the drug war along the U.S. Border, and deceit along both sides.
One of the most impressive aspects of “Sicario” (which we learn is the Spanish word for “hitman”) is that it is written by Taylor Sheridan, who has virtually no scriptwriting experience. He’s appeared as an actor in everything from “Dr. Quinn: Medicine Woman” to “Sons of Anarchy,” but here shows his penchant for penning detailed and engaging scripts that also paint a rich landscape. The film starts on U.S. soil, with FBI Agent Kate Mercer (an unrecognizable Emily Blunt), discovering an atrocity in an abandoned house miles from the U.S. border. The event fingers a drug kingpin, Manuel Diaz, in the proceedings. In short time, Kate is introduced to some mysterious players (Benicio Del Toro, Josh Brolin). They ask for her help in crossing into Mexico on a mission they claim will further her cause more than anything she’s done so far.
A Stellar Use of Emily Blunt
As far as drug movies go, this is not typical fare if you are looking for a straight-up actioner. “Traffic,” starring Michael Douglas and once again Del Toro, is one. As is “Blow.” But “Sicario” is less about the destination. It’s about feel and atmosphere, utilizing unique characterization and ambiance to complete this picture.
Blunt does a stellar job here, transitioning into a serious role, coming off of 2014’s “Edge of Tomorrow.” She does things reserved for great acting, such as turning the camera on herself as her friend and colleague (Daniel Kaluuya) comments on her haggard looks and lack of concern for her appearance. She’s backed up by a top notch cast, which, of course, helps. Del Toro appears as the mysterious Alejandro. And though his purpose is delineated through the course of the film, won’t even be hinted at here. But he adds a great deal to the movie, plays the role dead serious, in no way mirroring his drug addled performance alongside Johnny Depp in “Fear and Loathing in Las Vegas.”
Daniel Kaluuya, Hank Rogerson, Victor Garber, and Emily Blunt in “Sicario.” (Photo: Richard Foreman, Jr. SMPSP).
Of the cast, I must say I was most impressed with Brolin, who is just great. In both “Wall Street: Money Never Sleeps,” and “Labor Day,” Brolin turned in more of a stock performance. Here he transforms into an interesting and forceful character with ease, not afraid to take chances.
Tension and Buildup are ‘Sicario’s’ Takeaways
“Sicario” is all about buildup, and the score and cinematography are top of the line. Its brief foray into Juárez to pick up a prisoner from within Mexico’s borders is scored ominously. It holds the audience captive with suspense and tension. Cinematographer Roger Deakins highlights this with overhead shots of a packed highway exiting Mexico, with only the cast entering. While the groups’ entry into Mexico lasts only about ten minutes, it’s an image that lingers throughout. Fences, guards, and talks between key characters under the cover of night add to this tension, working in unexpected ways.
One complaint, if there is one, is that the film drags in places, and it’s ultimate reveal, while rewarding, might be less than audiences were looking for. Films such as “The Hurt Locker” show insight into the morality (and horrors) of war and the soldiers that fight them with an utter lack of moralizing. Given the ambiguity of the drug war, perhaps some moralizing, or stage setting, would have gone a long way. “Sicario” definitely shows that players on both sides can act in corrupt ways. However, it presents the affronts perpetrated by the United States as an end onto themselves, and drops the ball in showing fully the Mexican side. This is especially true with the buildup of a tenuous father/son relationship in Mexico that ends in an anticlimactic manner.
A Morally-Ambiguous Take on the Drug War
Josh Brolin, Dylan Kenin, and Michael Fletcher in “Sicario.” (Photo: Richard Foreman Jr SMPSP).
“Sicario” is just a great movie. Del Toro, Blunt, and Brolin all turn in key performances, the ambiance is dark and foreboding, and the movie feels as dangerous as the elements it presents. This is less a documentary look at the drug war, but a punctuation on the lives of those living it. If you’re looking for black and white, this isn’t the movie for you. While there is a conclusion, the film never really ends, is never fully resolved. The good guys don’t win and the bad guys don’t lose—especially given how loosely these roles are defined to begin with.
