2018’s Sicario: Day of
the Soldado, directed by Stefano Sollima.
Starring Benicio Del Toro, Josh Brolin, Isabela Moner,
Jeffrey Moner, Jeffrey Donovan, Catherine Keener, Manuel Garcia-Rulfo, Matthew
Modine, and Shea Whigham.
What is it about?
In the sequel to 2015’s Sicario,
terrorist activities cause U.S. government operative Matt Graver (Josh Brolin) to
be recruited by Secretary of Defence, James Riley (Matthew Modine). Graver
brings back the Sicario, Alejandro Gillick (Benicio Del Toro), and they come up
with a plan to kidnap the daughter, Isabel Reyes (Isabela Moner), of a drug
cartel czar, with the idea that they can blame the kidnapping on a rival
cartel, and then watch the cartels wipe each other out in retaliation. While the
off the map operatives attempt to execute their subterfuge in Mexico, they’re double
crossed, and Alejandro and Isabela end up on the run together. Hunted by
various cartels, both governments, and oblivious gang members, will Alejandro
and Isabel be able to survive life on the run on foreign soil?
Why is it worth seeing?
My number 1 movie of 2015 (unless you count the short film, World of Tomorrow), was Sicario. Its macabre story about the
horrors of the drug war being fought by frustrated government officials
featured equal parts top notch scenes of suspenseful dread and taut action.
Emily Blunt was amazing, as her character discovered the ramifications of trying
to fight fairly in a fixed fight, while Josh Brolin and Benicio Del Toro’s shadowy
characters had no qualms about getting dirty. Its final message seemed to be
that paradise hadn’t just been lost- but that hell was effectively here.
That’s where we find ourselves now in Sicario:
Day of the Soldado. Its 2 biggest absentees from the previous film are star
Emily Blunt, who’s talented presence provided the audience a relatable surrogate
to experience the perils of the drug war, and visionary director Denis Villeneuve,
who was not only skilled at slam bang action but more importantly at crafting
tension. Stefano Sollima steps into the director’s chair, and despite a decent
sequence of a cross that double crosses, just doesn’t have the verve of the
steady handed Villeneuve.
One of the more baffling returns from the previous film, is writer Taylor
Sheridan. We know, after the previous film, not to mention Hell or High Water and Wind River, that Sheridan knows how to write (and direct) a good yarn. So what’s
with the limp imitation of himself? Making the film not only another (compromised)
parable about the drug war, but also adding in acts of domestic terrorism (and
Islam and refugee phobias) feels more relevant- in an age where the president
likes to tweet from his toilet his intelligent thoughts on putting children in
cages. But that doesn’t mean it’s better. There are some elements of interest,
such as the relationship that develops between sicario Del Toro and his mark,
and the walls closing in on the morally compromised Brolin and Del Toro’s
characters, but the whole exercise generally feels like an updated version of
the Reagan-era inspired Cobra. Violence
just begets violence.
Packed with unanswered questions, and devoid of meaningful
answers, S:DotS’s lust for revenge
travels multiple countries, but has very few places to go. Its themes of
betrayal, revenge, and utter nihilism towards one’s beliefs are hardly
inspiring, and considering its source material the strongest emotion is that of
disappointment. But not for the next one, as that iteration will be devoid of
expectations. Hollywood has a habit of endlessly repeating itself far worse
than any drug war.
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