sicario movie 2019 – Day Of The Soldado Reason.com

This mad sequel to 2015’s terrific Sicario tones down that film’s ominous and nihilistic geopolitical message but retains its gritty allure and moral ambiguity, to produce an intense if more conventional thriller with eerie topicality.

sicario movie 2015 cast – Sicario DVD Release Date January 5, 2016

sicario movieIn the lawless border area stretching between the U.S. and Mexico, an idealistic FBI agent (Emily Blunt) is exposed to the brutal world of international drug trafficking by members of a government task force (Josh Brolin, Benicio Del Toro) who have enlisted her in their plan to take out a Mexican cartel boss. Lionsgate has not greenlit a third Sicario” film. The first sequel, Day of the Soldado,” centers around the characters played by Benicio Del Toro and Josh Brolin and opens in theaters later this month. The sequel is already earning strong reactions from critics, and a third film will be a no-brainer if Soldado” takes off at the box office.

Little about the film’s premise or execution felt promising, and as the movie took one absurd turn after another, the thrill was gone leaving only disbelief. Stefano Sollima, Soldado’s director, specializes in crime dramas with titles like All Cops Are Bastards and revels in this movie’s chaos and terribly high body count. There’s no lead character like Blunt’s in the original to call attention to their extralegal operations or to become outraged at Matt and Alejandro’s methods. Del Toro may have a few moving moments of humanity, but mostly everyone Latino is denied that complexity.

It is a devastatingly effective introductory sequence not only because it captures and holds the audiences’ undivided attention, but also because it sets the correct tone for the film, which tracks Macer’s evolution from idealistic boy scout to horrified tagalong in a shadowy government task force charged with striking back at the cartels. The opening moments are representative also of the film’s strong narrative structure, which succeeds in putting the viewer directly in the protagonist’s shoes. Because we feel Macer’s terror and confusion as her cohort literally peels back the drywall in the safe house, exposing the decaying bodies of both male and female victims, we are prepared now to share in her experiences as she metaphorically peels back the layers of deceit and secrecy masking the federal government’s blood-soaked conspiracy to manage cartel violence.

But Kate is gone now (and so is her partner, who was played by Get Out’s Daniel Kaluuya). The main focus has shifted over to the two men who spent most of the first film either yelling at her or refusing to explain what was going on: government consultant” Matt Graver (Josh Brolin), whom the secretary of defense (Matthew Modine) enlists to solve the problem, and his preferred and apparently indestructible operative, Alejandro (Benicio del Toro).

This all happens in, like, the first 20 minutes. It’s a bombastic opening act, cutting across time zones and globalist nightmares, and might surprise anyone who saw the first movie. 2015’s Sicario starred Emily Blunt as a naïve FBI agent spiraling through borderland ultraviolence. It was an austere, well-photographed, phony piece of crap, in love with its own demonic swagger. The breakout was Benicio Del Toro’s hitman, Alejandro, who looked whimsical and melancholy and so damn awesome killing people. Del Toro is one of the great presences of our age. He’s spent this decade paychecking as family-friendly Disney whack-jobs, waiting patiently for you all to finally catch up with Che. Sicario had the kick of watching Del Toro unleashed — and his magnetism was dangerous, imbalancing the already-fragile narrative logic. Alejandro, a tormented bad man, made anyone good look boring.

Graver once again returns to vengeful ex-lawyer Alejandro Gillick (Benicio Del Toro) to help him assassinate cartel leaders and to kidnap Isabela Reyes (Isabela Moner, Transformers: The Last Knight”) to turn the criminal organizations against one another. But when the job turns bad, Alejandro refuses to kill Isabela to cover their tracks, and it’s up to Matt to stop him from crossing the border back into the United States.

Obviously, this is all just talk at this point, as no script has been written, nor has Sony greenlit any follow-up to Day of the Soldado as of yet. To be honest, I’d be shocked if a third film ends up happening, despite the set up at the sequel’s climax. Sicario never really screamed out for a second chapter, and the marketing is selling a trash action mayhem fest that this movie simply isn’t. Furthermore, I’d be shocked if Day of the Soldado ends up becoming a hit, as it’s probably too icy, amoral, and mean spirited to land with a mainstream crowd and cost reportedly double what the original did (though stranger things have happened!).

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Once again, the focus is on the unwinnable and convoluted and dizzying War on Drugs, and the complicated and often corruption-riddled dynamic between U.S. law enforcement agencies and the Mexican drug cartels. And even though director Denis Villeneuve and key cast member Emily Blunt are no longer part of the equation, the second chapter stands alone as a powerful and pulpy modern-day Western, thanks in large part to the great performances by Josh Brolin and Benicio del Toro, and a richly layered, gut-punch of a screenplay from Taylor Sheridan (who penned the first film).

Sheridan leans toward the lurid, but with the blood is a marrow you don’t get from other movies, where action is increasingly tied to fantasy. Soldado bludgeons its way into touchy border politics, and maybe lucks its way into a story focused on the moral imperative of protecting a single child.


Denis Villeneuve’s 2015 thriller Sicario opens with the discovery of a house of horrors, an apt metaphor for the journey of its heroine, adept FBI agent Kate Macer (Emily Blunt), and for the film’s view of the Mexican drug cartels as a rhetorical evil. A raid on an Arizona tract home uncovers plastic-wrapped bodies in the drywall, a deadly booby trap explodes in the backyard: The house of the cartels is built on corpses, and the further one digs, the worse it gets. The bad feelings persist as Macer is drawn into a task force headed by Matt Graver (Josh Brolin), a government consultant” in cargo shorts and flip-flops; the introduction of Matt’s star operative, the mysterious and ambiguous Alejandro Gillick (Benicio Del Toro), hints at their real mission. The unshakable tension, dread, and nausea (at decapitated bodies, corpses hung from Juarez overpasses, blown-off limbs) curdles into horror, then existential despair.

A week later, Puerto Rico-born Del Toro, 51, is still in combative mood and urging restraint from the US government ( which has said it will stop the separations ) and a common-sense solution. It’s amazing that I’m in the middle of talking to the press about this movie and it happens that the biggest story in the world right now is what the government is doing to these families.


Sicario throbs with tension, thanks to Villeneuve’s slow-build style of cinema (he favors encroaching camera movements and a patient pace). Despite its somewhat familiar story, there’s hardly a moment in the movie that feels routine. Even the stock image of a plane taking off becomes expressionistic here, as we get that bird’s-eye view of the land below, with a government plane’s silhouette flitting along in the right-hand corner of the screen. That’s apropos, for as we’ll learn, the law may be casting something of a shadow, but it’s the harsh landscape – wild lawlessness – that dominates the frame.

The team, which includes SFOD-D operators, travels to Ciudad Juárez , Mexico, in order to extradite Díaz’s brother and henchman Guillermo Díaz (Edgar Arreola). On the return back to the U.S., they engage in a firefight with a group of cartel gunmen at the public border checkpoint, which causes eight of the gunmen to be killed in the firefight, shocking Kate. Kate openly questions the operational tactics of the group, but Matt promises her that he permitted her to participate in the operation because he was fully well aware that her partner was never able to conform to the negative occupational stress of the operation. Alejandro tortures Guillermo on American soil and learns that the cartel uses a tunnel to smuggle drugs into the U.S.

But it’s missing its predecessor’s sense of ambivalence and helplessness. For the most part, its characters are set in their ways before they even show up on screen, and though there are some brief gleams of humanity — Alejandro’s care for the kidnapped teenager who, like Kate in the previous film, seems to remind him of his murdered daughter — for the most part they start out as stock tortured antiheroes who seem trapped in a Sisyphean loop. And end the film the same way. There’s no reckoning with what that really means in the two hours in between.

If you’re going to boot Kate out of the story and leave in Matt and Alejandro, then you owe it to those characters to access the richness that’s possible when you drop two stock characters into incredibly complex situations. The possibilities for exploring morality, justice, ethics, otherness — things the Western has always been interested in — are ripe for the picking.

When the situation gets more precarious, Graver and Alejandro’s Washington benefactors (Matthew Modine and Catherine Keener) understandably get cold feet. The simpler moral universe in the latest movie actually makes it less involving because there’s no sense of tension. The stakes seem even lighter when gunshot wounds become a minor irritant.

What’s left is a skeletal sequel built around supporting characters, Matt (Josh Brolin) and Alejandro (Benicio del Toro), and the illegal lengths they will go to destabilize Mexican cartels. Instead of taking the Sicario story in a new direction, the narrative doubles down on the worst aspects of the original, feeding into xenophobic stereotypes about people crossing the border.

With encouragement from the Secretary of Defense (Matthew Modine), Matt decides a cartel war is the best retaliation. He accomplishes this by kidnapping Isabela (Isabela Moner), the daughter of a cartel leader, and making it look like the dirty work of a rival cartel. This is a profoundly dumb plan, with way too many risks, so of course it nearly starts an international incident. In the confusion, Matt’s team separates from Alejandro, who is busy protecting Isabel. Miles apart, they reach an impasse: Matt gets orders to kill Isabel, while Alejandro goes off the grid” to keep her safe.

Sicario” felt topical at the height of panic about narco violence creeping over the border. But Sicario: Day of the Soldado” feels even more urgent, bringing to mind the current crisis of deportations and detention centers. What resonates even more is the nihilism of a government operating violent shadow operations without much sense of purpose or seemingly any moral code.

There are no heroes in these films — Graver is a highly paid assassin who uses irony and strategy to dehumanize his victims. Alejandro is motivated by his past but bottles up his emotions to fuel his killing. Perhaps he’ll get out of it, you think, but he doesn’t, just working to set up the next generation. This cycle of violence is bleak, dark and never-ending, and the only way off the ride is death.

Mysterious government contractor Matt (Josh Brolin) sees potential in her and brings her on board to his team attempting to bring down the cartel, a team which includes the film’s eponymous hitman, Alejandro (Benicio del Toro). Macy soon realizes she’s become involved in something far more nefarious and far-reaching than she could’ve ever imagined.


Little about the film’s premise or execution felt promising, and as the movie took one absurd turn after another, the thrill was gone leaving only disbelief. Stefano Sollima, Soldado’s director, specializes in crime dramas with titles like All Cops Are Bastards and revels in this movie’s chaos and terribly high body count. There’s no lead character like Blunt’s in the original to call attention to their extralegal operations or to become outraged at Matt and Alejandro’s methods. Del Toro may have a few moving moments of humanity, but mostly everyone Latino is denied that complexity.

Stefano Sollima knows what he’s going to be doing this Friday. The Italian director has already bought a ticket to Sicario: Day of the Soldado ” so he can experience the film’s opening weekend with a live audience. I want to see the reaction for myself,” said Sollima.

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