Synopsis
No rules this time
Agent Matt Graver teams up with operative Alejandro Gillick to prevent Mexican drug cartels from smuggling terrorists across the United States border.
2018 Directed by Stefano Sollima
Agent Matt Graver teams up with operative Alejandro Gillick to prevent Mexican drug cartels from smuggling terrorists across the United States border.
Benicio del Toro Josh Brolin Isabela Merced Jeffrey Donovan Manuel Garcia-Rulfo Catherine Keener Matthew Modine Shea Whigham Elijah Rodriguez Howard Ferguson Jr. David Castañeda Jacqueline Torres Raoul Max Trujillo Bruno Bichir Jake Picking Arturo Maese Bernal Faysal Ahmed Graham Beckel Tenzin Marco-Taylor Dan Davidson Sherman Allen Lourdes del Rio Garcia Christopher Heyerdahl Ian Bohen J.D. Garfield Ryan Begay Diane Villegas Ibrahim Renno Alejandro de la Peña Show All…
Orlando Hernandez Sean McClellan David Bishop Noriega Dawid Borkiewicz Samuel Jacques Michael Neal Daniel Remillard Patrick Toohey
Meg Everist Ethan Scroggins Jonathan Lheureux Jeremy Chiordi Ester Kim Lisa Ward Lonam Fogleman John Laing Laila Weeks
Jimmy Ortega Chris Palermo Joe Bucaro III Thomas Rosales Jr. Amos Carver Doug Coleman Peter Epstein Omar Ayala Mickey Giacomazzi Bobby Burns Paul E. Short Ed Duran Saleem Watley Whitney Coleman John Trejo Al Goto Rebecca Hill Casey Daniel James Chavez Mario 'Pikachu' Rojas Vanessa Zamarripa
Roland N. Thai David Brownlow Dean A. Zupancic Dan O'Connell John T. Reitz John T. Cucci Alan Robert Murray Willard Overstreet Kevin Murray Katy Wood Christopher Flick James Ashwill Christian Wenger
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The first time I watched Sicario I said "if Denis Villenueve hadn't made this movie, it wouldn't be good" and now I know that I was right
all of these characters getting abducted and yet none of them, not even ONE, remembered to keep a money clip with $50 on them to throw in case of emergency
“Sicario: Day of the Soldado” is a mean fucking movie. That’s sort of its thing. Much like the previous installment of this unlikely franchise, the film drapes itself in darkness so that it can focus our attention on any stray specks of light; one early shot, in which the white halo of a helicopter spotlight tracks a brown man as he sprints towards the Texas border during the dead of night, provides a convenient visual metaphor.
It’s also a hard movie, in the way that Josh Brolin’s jawline is hard, or that Hemingway is hard, or that trying to carve a coherent narrative out of the Escher-like power struggle of the Mexican Drug War is hard. Like “Sicario,” “Wind River,”…
For most of its length a suitably ostentstiously gnarly take on collateral damage from conflicts we engineered for ourselves. Completely lacking in subtlety or even much nuance, sure, but also as unflinching as its predecessor as far as the grim realities at the intersection of clandestine state-sponsored warfare, narcotraffic and its economics, and the self-justification of violence, giving you almost nothing to hold onto except the inevitability of a hopelessly corrupt system continuing to perpetuate itself. Then it obnoxiously tries to grow a moral compass in the last 15 minutes. Don't fucking do that, guys, none of us wears it so well.
Within the first 10 minutes of Hitman: Dia del Soldier, the sequel immediately sets itself politically antithetical to Sicario. The film opens with a text explaining that there are thousands of people smuggled across the U.S.-Mexico border for profit by Mexican Drug cartels. It then proceeds to show multiple jihadists blowing themselves up in Kansas City (where I was coincidentally watching the film) because, what better way to prove your Islamic extremist point than by smuggling across the border and traveling 1000 miles to blow yourself up at a Dillons? This all helps the cartels, of course, because once you hear about a terror attack you immediately want to do a line of coke.
The rest of the first act…
Honestly, "Day of the Soldado" was a big surprise. It's admittedly not "Sicario" not even close, but I still thought this was really great! Entertaining, violent, super intense, and I thought both Brolin and especially Del Toro were excellent yet again. It's literally just missing Villeneuve and Deakins immense technical prowess from the first.
If you liked "Sicario" I do think this is well worth a watch, just don't expect anything close to the first.
My Last Review: | Ballerina |
Josh Brolin gets one of the all-time great introductions in Sicario. We meet his character, Matt Graver, in a Department of Justice conference room. Everyone else around the table is in a suit and tie; he’s wearing a T-shirt and an unbuttoned collared shirt. He peers at Emily Blunt from over the top of a pair of reading glasses. Brolin placidly asks a series of innocent questions of Blunt’s character, who has just survived a hellish assault on a drug cartel safe house. Blunt leaves then glances down: Graver is conducting national security business in a pair of flip flops, like a reformed hippie who stumbled into a government job.
In his first scene in the sequel, Sicario: Day of…
Eines der grundlegendsten Probleme von Sicario 2 ist, dass nach dem meisterhaften Erstling wohl kaum jemand dachte: "Och...davon jetzt 'nen zweiten Teil.." Narrativ muss sich Taylor Sheridans Drehbuch auch merklich winden, um aus den im Vorgänger abgesteckten Grenzen eine schlüssige Handlung und zugleich sinnige Fortführung zu pressen. Da fallen Begriffe wie ISIS, Terroranschläge, dann ist von einem Krieg der Kartelle die Rede, bis das Geschehen irgendwann plötzlich zum Escapethriller mutiert.
Das Ergebnis wirkt dadurch leider immer wieder recht ziellos, stellenweise gewollt und lässt selbst die etablierte Tonalität des ersten "Sicario" irgendwann seltsam entgleisen. Del Toro und Josh Brolin spielen ab der Hälfte des Films völlig überraschend gegen alle Werte, die ihre Figuren im Vorgänger noch so faszinierend abstoßend wirken ließen.…
Almost impressed by how blatantly gross and irresponsible the first like 15 mins of this is; at best it's in poor taste and at worst it plays as bloodthirsty Fox News propaganda but regardless it felt way more truthful than the feigned self-criticism and unconvincing moralizing of the original. Because of that opening, I was down with this for a bit, and because it at least seemed to admit that the characters Sheridan meant to be repulsive in the first one (and overt stand-ins for the moral rot brought on by American imperialism and xenophobia) were actually the most alluring. A deeply troubling but not uninteresting sentiment that isn't helped by the fact that both are played by very magnetic…