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Sicario is one of 2015's must-see movies, a modestly budgeted action-thriller in a similar vein to Steven Soderbergh's Traffic and the best films of Michael Mann. With the acclaimed Denis Villeneuve (Prisoners, Enemy) at the helm and with a screenplay by Taylor Sheridan, Sicario is more than a formulaic action-thriller - it is a technically immaculate and unforgettably haunting exploration of the human mind's dark recesses set against the backdrop of America's war on drugs. Ethical conundrums are common, blurring the line between right and wrong as the protagonist is absorbed into a dark, morally grey realm but is sufficiently satiated by the promise of results after years of slow progress and police fatalities. Sicario is an audio-visual masterpiece with Villeneuve at the top of his game, but it is a bleak movie featuring characters who lack warmth, making it easy to admire but hard to genuinely love.
An FBI Agent concentrating her efforts on Mexican drug trafficking, Kate Macer (Emily Blunt) is shaken by a discovery in suburban Arizona, raiding a house full of corpses that is also rigged with an explosive device that claims the lives of two law enforcement officers. Determined to apprehend the criminals at the top of the food chain, Kate is recommended for and joins a covert Joint Task Force, working alongside CIA Officer Matt Graver (Josh Brolin), who gives her limited details about the mission. Kate is full of moralistic, by-the-book ideals, finding the task force's methods - especially those of secretive, highly-skilled assassin Alejandro Gillick (Benicio del Toro) - frustratingly questionable. As Kate begins questioning her role in the dangerous operation, she finds it difficult to trust the men of authority surrounding her.
The screenwriting debut for Taylor Sheridan, who went on to pen Hell or High Water and Wind River, Sicario paints a searing picture of the ostensibly unwinnable war against violence and drugs filtered through Kate's eyes. Kate is skilled but sheltered and naïve, and she finds herself unprepared to witness the "good guys" using worryingly unconventional tactics throughout the operation. Just as Kate is mostly ignorant of the operational specifics beyond fighting the war on drugs, the script likewise leaves viewers in the dark to observe the ethically questionable abyss of violence that seemingly lacks rhyme and reason. Sicario is entrenched with procedural minutiae, following Matt's team as they relentlessly work towards their unclear ultimate goal. Villeneuve explores the moral grey area of the operation, with characters lying, stealing, setting traps and killing, which takes a toll on the conflicted Kate, who wants results but is weary of the cost. Moreover, Sheridan plays with conventional storytelling rules, even switching focus to Alejandro during the third act with terrific sleight-of-hand. Alejandro emerges as the film's secondary protagonist, enhancing the overall narrative without taking away from Kate's story, and the establishment of his character leads into the 2018 sequel, Sicario: Day of the Soldado.
Sicario is the second collaboration between director Villeneuve and cinematographer Roger Deakins after 2013's Prisoners. Villeneuve's directorial spell is enrapturing, concentrating on evocative atmosphere, periods of silence and careful mise-en-scène. Under Deakins's meticulous eye, every frame looks achingly gorgeous, with visually arresting compositions and remarkable lighting and use of shadows, while Johann Johannsson's pulse-pounding, Oscar-nominated score perfectly complements the cinematography. An inescapable feeling of dread and tension permeates Sicario, with Johannsson's music enhancing the atmosphere and effectively driving the movie, maintaining momentum during stretches containing minimal dialogue. The visuals emphasise the almost otherworldly nature of the desolate desert locations, with the soundtrack compounding the sense of uneasiness, making viewers feel like strangers in a strange land. During the moments of gunplay and violence, Villeneuve exhibits genuine flair and talent; a deadly confrontation on a busy stretch of road is both savage and riveting, while an extended climax stretching multiple locations is nail-bitingly intense. Sicario wears its R rating on its sleeve, facilitating moments of shocking violence and an unnerving look at the realities of drug smuggling and cartel operations. However, Villeneuve is wise enough not to dwell on the brutality, showing tact and restraint during the action beats, with the characters dispatching enemies swiftly.
Blunt is exceptional as Kate, coming across as a wholly believable FBI Agent with tenacity and grit but who is also recognisably human. The actress admirably acquits herself during the action sequences, but she shines during the smaller moments, strongly conveying the impacts of the moral conundrums she faces through body language and measured line delivery. A concluding scene between Blunt and del Toro is a highlight. Speaking of del Toro, he is outstanding here as the cagey Alejandro, delivering what is potentially the best performance of his career so far. Alejandro adopts a steely, ruthless exterior demeanour that hides anger and grief, and del Toro immerses himself into the character with impeccable abandon. Brolin is another standout, perpetually keeping his cool and maintaining control despite Kate's consistent questions and the mission's inherent danger. Outside the central trio, Sicario also features Jon Bernthal, Victor Garber, Jeffrey Donovan and Daniel Kaluuya in supporting roles, all of whom hit their marks admirably. This was right before Bernthal's big break as Frank Castle/The Punisher in the Marvel Cinematic Universe, and he capably plays a smooth-talking, corrupt Arizona cop here. Garber is excellent in anything, and this is no exception; he brings a pronounced sense of gravitas to his role as a supervisory agent in the FBI.
Sicario carries the feeling and appearance of an arthouse production, but it is more thrilling and captivating than this description implies. Indeed, the movie concentrates on tense standoffs, armed conflicts, intriguing investigations and heated interrogations instead of a numbing series of static scenes in dim rooms with people talking. However, there is still an underlying gravitas and sophistication to prevent Sicario from feeling like simplistic direct-to-video schlock. In other words, this is an action-thriller done correctly. It is a testament to Sheridan, Villeneuve and the rest of the crew that, despite the dense narrative, Sicario does not feel like mundane homework. Also note-worthy and relevant is the film's suggestion that the war on drugs is ultimately futile despite America's funding and operational strength to combat it.
8.3/10
