Sicario: Taut, Tense and Tortured (Review)

Thrumming, strident and evocative of the “train” sound emitted by the surrounding native contingent in the 1964 film Zulu, or a rhythmic overbalanced bass emanating from a woofer one step from shaking itself to death, Sicario begins with a soundtrack guaranteed to elevate the viewer’s adrenaline levels.

Emily Blunt as Kate Macer

Thrumming, strident and evocative of the “train” sound emitted by the surrounding native contingent  in the 1964 film Zuluor a rhythmic overbalanced bass emanating from a woofer one step from shaking itself to death, Sicario begins with a soundtrack guaranteed to elevate the viewer’s adrenaline levels.  This foreboding score begins the film as two definitions of the title appear onscreen. One; being a zealot (a killer who hunted down invaders of their homeland), the other;  meaning hitman. The Denis Villeneuve film is, fittingly enough, about both.

The film’s score, by Icelandic composer Jóhann Jóhannsson (Foxcatcher, Prisoners) sets the tone and the pace of the feature from frame one. It manages to dictate the action, the feelings of impending doom and confusion (felt by the movie’s protagonist FBI agent Kate Macer, played brilliantly by Brit actress Emily Blunt) as well as the feeling that everything is one half-step away from stampeding out of control.

Sicario stars Blunt, Benicio Del Toro and Josh Brolin.  Playing Macer’s professional partner Reggie Wayne is another Brit actor Daniel Kaluuya. Jeffrey Donovan (Burn Notice, Fargo) and Victor Garber (The Flash, Power) have impressive cameos in this film about drug cartels and the struggle to control them. The Walking Dead actorJon Bernthal has tiny cameo as a crooked cop.

The film, written by Taylor Sheridan (His first project as author versus actor.)  begins with a raid on a house in the suburban setting of Chandler, Arizona.  Macer is a kidnap specialist who, with her partner and a team of agents, invades a tract house. Entering, by the device of ramming a vehicle through a wall, the team discover a multitude of dead bodies secreted in the sheetrock walls.

Other agents are going through a storage shed behind the house when they discover it has been rigged to explode. Macer, Wayne and their boss David Jennings (Garber) are injured by the blast and flying debris. After the raid and the discovery of all those bodies, Macer is recruited by “DoD advisor Matt Graver (Brolin) and his shadowy colleague Alejandro (Del Toro). Wayne is not wanted, but tags along anyway to keep an eye on his partner.

Macer is talked into volunteering for a dangerous and vague mission to get the men responsible for the explosion in Chandler and the house of dead bodies.  Sicario follows her descent into the madness of a CIA operation and a father and husband bent on revenge.

The film is harsh, unrelenting and visceral in its depiction of cartel activity and the task force’s foray into “enemy territory.”  The viewer feels as helplessly caught up in events as the two FBI agents Kate and Reggie. The audience share her feelings of being overwhelmed, frustrated and enraged by the events and Reggie’s concern.

Director Denis Villeneuve (Prisoners, Enemy) delivers on a level that feels almost guttural in its texture and his use of Jóhannsson to blend and escalate his story is pure genius.  Between the soundtrack and the events unfolding on screen the tension is almost palpable as is the threat.  The tone of the movie is one of a tautness  that nearly screams with a tortured cry of  rage  and confusion from its beleaguered heroine.

Emily Blunt has proven yet again, that a slender and fragile looking English rose can convince as a tough as nails FBI warrior woman who gives as good as she gets.  (Blunt showed off considerable talents in the arena of being a tough customer in both Loopers; “I will cut you the F**k in half” and Edge of Tomorrow; “Bloody hell, it’s the Full Metal Bitch!” and Sicario brings her “action” skills full circle as the American FBI agent in over her head.)

Josh Brolin plays the type of character he specializes in; a real-feeling protagonist who is sitting square in the middle of the fence. A man who is not afraid to create chaos if the end result is order.

Benicio Del Toro is brilliant as the taciturn and scary agent  of Graver’s (Brolin) chaos.  A disturbing mixture of thinly covered pathos tinged with a  deadly air that permeates every scene he is in.  His interactions with Blunt’s character are full of regret and sadness, she reminds him, he says,  of his daughter, which speaks volumes of the FBI agent’s naivety in this new world of cartels and the death they deliver.

Sicario is a powerhouse film that does not have a satisfactory or even clear cut ending. Ambiguity and a sense of confusion are present even after the end credits roll.  The final result is that we the audience have stepped fully into the shoes of Macer and identify with her completely.

This is a full 5 out of 5 stars film.  Tight to the point of screaming;  the plot, the performances and the action all follow that thrumming driving score.  Watch this film and prepare to be wound up like a Swiss precision watch.  Cracking entertainment that should not be missed.


Cartel Land: Meth, Tears and Vigilantes (Review)

It is oddly fitting that the documentary Cartel Land, directed and filmed by Matthew Heineman, should be making waves at the same time that the film Sicario has also been getting rave reviews from critics.

Poster for Michael Heineman's Cartel Land

It is oddly fitting that  the documentary Cartel Land, directed and filmed by Matthew Heineman, should be making waves at the same time that the film Sicario has also been getting rave reviews from critics. While the documentary deals with meth and vigilantes on both sides of the border and deals with the reality of cartels, both productions have one thing in common; the tears of the innocent.

Heineman, in his fourth outing as documentary director, is the cinematographer who follows the vigilantes in Mexico and the paramilitary  group through Arizona’s Altar Valley as they seek to stop drugs coming into the country.  Each group may fly similar flags of intent, but the Arizona Border Recon, headed up by Tim “Nailer” Foley (who is an American veteran) is, in reality, a thinly disguised immigration control group with little interest in stopping cartel smuggling and a intent interest in keeping  illegal aliens from taking jobs.

The documentary follows Nailer’s group somewhat, but focusses on things below the border fence. Dr. Jose Mireles, aka El Doctor,  is the charismatic, well spoken and humble leader of Autodefensas . He  heads the  armed group of vigilantes who pass out T-shirts and recruit locals from towns overrun by the cartels.

A battle between the vigilantes, the government (paid for by the local cartels) and the cartels themselves erupts. With names like Knights Templar, the drug gangs control with a mixture of fear, death, torture, bribery and intimidation.  Mireles speaks of the origins of the Templar group and rather tellingly, explains that they too began as opposition to an existing cartel, becoming corrupt as they expanded.

Heineman gets up close and personal with the main players in Autodefensas. El Doctor and his second in command “Papa Smurf” grow the organization;  increasing membership, wresting towns from the cartel and spreading the word that the bad guys can be beaten.  After what appears to be an attempt on Mireles’s life, Papa Smurf is  temporarily put in charge and the nature and structure of the vigilante group changes.

Templars infiltrate the group and complaints from villagers come rolling in.  Eventually, the ideology of the organization changes as does the leadership.

South of the border, the story feels all too familiar, power and corruption do indeed, as Heineman shows, go hand in hand. North of the border, immigrants are stopped and turned over to the authorities but no drugs are confiscated, proof that the activities of the paramilitary group are not as advertised.

Kathryn Bigelow (Oscar winning former spouse of James Cameron and director of Hurt Locker) is the executive producer of  this gritty, intimate and compelling look at vigilante justice and their goals both sides of the border.  While Cartel Land  lacks Hollywood stars and gory special effects, it does manage to disturb and ensnare the viewer.

The film itself is not just about the vigilantes who want to eliminate the cartels, it also features a close look at just why people work for the Knights Templar, or their equivalent.  The meth cooks, who are met at the start of the documentary and revisited later in the film, explain that they know laws and lives are broken by what they do.


They also point out that someone will always do what they are presently doing.  It will never stop, a message also conveyed in the Denis Villeneuve film Sicario.  Bigelow and Heineman have opted to leave the “near-reality” of Breaking Badand other fictionalized visions of the drug trade,  behind and show the warts and underbelly of the drug trade and the citizens who  take the law into their own hands to stop it.

Granted, the vast majority of the tale takes place in Michoacán, Mexico; a whole world away from the US but the reach of the film surpasses this geological location.  This look at cartels and the citizen groups who “fight” them has not been commercialized in the least.  The film is a fly in the wall vision of a struggle that will never be stop and how even the “good guys”  can become seduced by power and the fight.

There are things that “clang” within the documentary. The repeated story of babies being killed by holding their feet and smashing their heads against rocks immediately rings a false note. This grisly and disturbing act has been attributed to “baddies” since the First World War, initially said of Russian soldiers and used again in WWII for the Nazis.

Some villagers sport idiotic grins during the “riot” scenes and during the funeral of a murdered family, young attractive girls in the background mug for the camera.

These jarring moments, which do intrude, do not take away from the power of the documentary, but do mar it.  Perhaps a tighter camera edit or judicious reframing could have fixed this, but overall the documentary impresses with its intimate vision of good becoming sour as it fights the villains and a government who want control.

Cartel Land has rocked the film festival world and has pulled  in seven awards and a number of nominations.  Watching the documentary, it is immediately apparent why it evokes so much excitement.  Heineman gives us a vision that upsets and contains a few twists and turns along the way. Betrayal, human weakness and loss of focus are combined with the human factor and hidden agendas that weaken the motivations of the main players.

This documentary is a must see.  Michael Heineman and Kathryn Bigelow have teamed up to produce a compelling and personal look at drugs, cartels and the real people who want change.  5 out of 5 stars.

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