Part of the problem is that Taylor Sheridan’s script doesn’t Open with such intensity that the lack of sizzle in the second act starts to Movie never tops this sequence again is where the problems arguably start. Deakins uses car windowsīeautifully and editor Joe Walker seamlessly cuts the action together. This scene isĪ master class in the production of tension. Cars around themĬould contain the drug trafficker’s cronies, waiting to strike. Way back from Mexico, they get stuck in traffic at the border. This sequence alone justifies a look at “Sicario.” Venturing intoĪ part of the continent in which drug lords have become so prominent that deadīodies hang in public places as messages, the team has to act quickly. Toro) head South to capture a drug trafficker and bring him back to the States for They bring her aboard, and Matt, Kate and the mysterious Alejandro (Benicio Del

( Josh Brolin), the people behind this task force like what they hear from Kate. Led by a mysterious, professionally undefined (he could be CIA) man named Matt Superiors, and she’s brought in on a meeting for an inter-agency task force. Macy’s fearlessness and quick wit draws the attention of her Notoriously lawless town of Juarez to Arizona? What is going on? What horror has crossed the border from the Soon, theyĭiscover the home is filled with corpses, and their investigation leads to anĮxplosion. The shotgun blasts a hole in the wall, revealing aĭead body, wrapped in plastic. Through the wall in her truck, and just takes down a target as he unloads a That opening scene features FBI Agent Kate Macy (Emilyīlunt) trying to find a kidnap victim in an Arizona home. That it falls short of greatness could be considered aĭisappointment, but there’s still much to like here. It’s a film that lacks the urgency of the really great thrillers, butĮxists in that rarefied air of refined production values on every level and aįlawless ensemble. Overhead helicopter shots of the Mexican border and a thumping, pretentious

In its middle act, “Sicario” can be frustratingly self-indulgent, filled with No rules of engagement, driven by a spectacular performance by Benicio Del ToroĪnd typically mesmerizing cinematography from Roger Deakins. Violence can erupt in the blink of an eye, taking lives and shattering others.Īt times, “Sicario” is a deeply satisfying, intense examination of a war with Hiding in the walls of a house in suburban America. This is a universe in which evidence of evil exists in plain sight, “Sicario” opens with two indicators of a violent world, one a discovery and one an explosion, both setting the stage for the satisfying thriller that follows.

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