Sicario review

An FBI agent goes on the hunt for a drug lord south of the border.

Sicario is the new film from director Denis Villeneuve. We’ve come to expect a certain kind of experience from his films an intensity shared among projects like Prisoners, Enemy and the searing Incendies. And he brings that same energy to his latest offering.

It’s a simple set up – Emily Blunt becomes convinced that the only way to fight back against the cartels is to go to the source of the problem and stop the drugs from ever reaching the USA. She teams up with forces she doesn’t quite understand to try to make a difference.

The film draws us into this alien land through her perspective – not only a woman in a primarily male world but a white American lawful woman.

The first scene where she (and the audience) cross the border on an operation is masterfully executed, sweeping us along with military efficiency while also building tension a layer at a time. The pressure comes from Jóhann Jóhannsson’s thrumming score, Roger Deakins’ oppressive camerawork and details like the constant bark of a dog which pummels our senses.

It’s a standout scene but far from the only impressive moment in Villeneuve’s feature, which also benefits from a great cast on top of their game. Blunt shoulders much of the drama and manages to be tough and vulnerable without becoming a stereotype and she’ll hopefully continue to pick up more interesting roles.

The supporting players are routinely excellent but special mention has to go to Josh Brolin who captures his complicated role with a mix of jokes and steel that shows off his range. And Benicio del Toro comes out of a fallow period to bring real depth to his complex character.

Villeneuve reteams with cinematographer Roger Deakins after Prisoners for another impressively shot feature. There’s a sense of grit and haphazardness to every shot but the framing is superb and the range of textures, shadows and even the use of thermal and infrared imagery is always arresting.

Sicario’s story is possibly its least interesting aspect, with former Sons of Anarchy star Taylor Sheridan’s script sometimes falling into cliché in its situations and dialogue. There are times could almost be a more commercial product, especially combined with a handful of kick ass action moments, but the darkness of the tone makes it harder to imagine in multiplexes.

That’s held true at the box office as well, with $25 million on a $30 budget to date. It’s too expensive for an art house flick and too grim for mainstream audiences, despite coming to screens with glowing reviews. If it moved in one direction or the other it might have found more success.

Which isn’t to say it’s a failure – Sicario has style to spare and some very fine performances, as well as being another showcase for Villeneuve’s uncompromising vision. But it’s just not quite as deep as I would have liked. Mostly, I feel like it bodes well for the director’s upcoming sequel to Blade Runner.