Director(s)	Denis Villeneuve
Principal Cast	Emily Blunt as Kate Josh Brolin as Matt Benicio del Toro as Alejandro Daniel Kaluuya as Reggie
Release Date	2015
Language(s)	English
Running Time	121 minutes
Report Card	Click to go to Review TLDR/Summary

The film starts by defining the term ‘sicario’: it was initially used to refer to zealots defending their homeland but means ‘hitman’ in the status quo. Though both interpretations of the word signify a killer, one is oriented around protecting ideals while the other seems to confirm a nihilistic kill-or-be-killed world where no values could persist. This dichotomy between the two meanings of the word represents the battleground Sicario takes place on as it explores what the transition between the terms signifies about the world in a paradigmatic sense.

The establishing shot starts from the vantage point of the idealistic interpretation of the word: a domestic view of a neighborhood in Arizona is interrupted as a group of soldiers, defenders of the homeland, creep into frame while the late Jóhann Jóhannsson’s palpable score reverberates like a droning heartbeat in the background, adding to the feeling of tension. The leader of the group, Kate (Emily Blunt), sits in a tank ready for breach before the vehicle breaks into a house, scattering dust all over the area. She gets down to investigate the residence with her squad but is suddenly caught off guard by a armed resident in the house. She evades his bullet and manages to kill him. The sound calms down. It seems like the dust has settled.

However, his bullet, despite missing her, opens another wound that proves to be even more devastating . The wall, broken in by the impact of the shot, reveals a series of bagged up corpses hiding within – a simple hostage retrieval becomes a mortifying entry into the macabre.

Kate immediately goes outside to vomit. Being a soldier doesn’t entail being unaffected by such senseless violence, and the brutality of the situation shakes Kate and her crew. She’s asked by personnel on how to document the situation given its severity. Kate insists that the records reveal everything; transparency is more necessary than ever.

While she tries to get an accurate count on the number of bodies in the house, a group of officers outside find a padlocked door in a shed and try and open it. The cuts and expectations established previously lead the viewer to think it’s more bodies hidden away, but the intense heartbeat track comes back signaling shifting times. Suddenly, the shed explodes.

Debris and dust scatter everywhere, obfuscating the frame, and Kate is once again lost in the fog of the situation, unable to see anything besides the carnage. The domestic area turned mausoleum has now become the site of an explosion – suburbia rendered into a site of gratuitous violence. In her efforts to preserve the rule of law, Kate finds herself soaked with so much blood that she can’t seem to scrub it all off in the shower. As she looks into a clouded reflection of herself in her bathroom mirror, it’s clear her more idealistic worldview has been delivered a tremendous blow.

The next day comes. Kate and her partner on the force, Reggie (Daniel Kaluuya), wait outside of a glass-paned room as their superiors discuss the previous day’s mission. A man speaks to the group with the camera positioned to his back. His framing suggests importance and a sense of mystery. He asks about Kate and Reggie’s respective backgrounds, approving of Kate’s but rejecting Reggie upon hearing about his legal education. The group calls Kate in and introduces her to the man of the hour, Matt (Josh Brolin).

First, he asks her about her relationship and child status. He’s abrupt and straight to the point. She responds she’s both divorced and childless. He tells her he’s hunting the cartels behind the bodies and bombings. She expresses interest. Her superior, Forsing (Jeffrey Donovan) tells her that joining such a task-force requires volunteering for the position. She asks Matt if they’ll be able to hold the people who committed the acts responsible. He guarantees that they’ll be able to deal with the masterminds behind the operation itself.

She agrees with no hesitation and her journey begins. However, as she leaves the room, she notices that the charming, yet serious Matt, shrouded in mystery, is wearing flip-flops in sharp contrast to everyone else in the room wearing business professional clothing – another indication that appearances are not to be trusted. Images are always imbued with an purpose and can’t be taken at face value.

The film cuts to a neighborhood in Nogales, Mexico. A young boy wakes up his father, Silvio(Maximiliano Hernández), to ask him to play soccer. Silvio gets up, eats breakfast while getting a nice helping of side-eye from his wife, puts on his police uniform, and then proceeds to take his son out on a walk. This adjunct narrative is a sense of normalcy that gives the viewer a reprieve from the violence; however, its presence immediately generates a sense of unease. The opening’s mention of Mexico in relation to sicario qua assassin, the eruption of violence in the American residence, the focus on cartel violence, and Silvio’s status as police officer transform a seemingly benign scene and moment into one that threatens to become catastrophic.

Back in the United Sates, Reggie drives Kate to her first day on Matt’s team. She’s told she’s going to El Paso with them on some preliminary task-work. However, upon getting to the gate, Reggie is denied access and the uncertainty about the situation increases. The emissary of the law is not allowed to pry his eyes upon this supposedly legal execution of justice. He’s forced to leave as Kate continues forward.

As she gets closer to the plane, another man, with his head turned around as to disguise his visage, appears at the plane’s tail. Matt comes out to greet Kate letting her know that the wayward man is Alejandro (Benicio del Toro) – another unexpected surprise. The trio get on the plane and Alejandro asks Kate if she’s ever been to Juárez; the shoe fully drops and the pretenses dissipate as Kate realizes that the mission she’s signed up for is far more expansive than she could have imagined.

While the nature of where Sicario mysteries lead is fairly by the books, the way its cinematically rendered gives it a poignancy that elevates the film into something special. Screenwriter Taylor Sheridan’s script is propulsive and juggles multiple storylines, giving director Denis Villenevue the ability to flex his muscles and leave his mark of the genre. Instead of focusing on the mystery, Villenevue repeatedly turns the viewer’s attention to the dichotomy introduced at the film’s start by utilizing parallels in characters and groups to demonstrate the way the terms and the manner by which they’re used to categorize can rapidly shift .

There’s an implied distinction between between killing while oriented towards an ideal that stands for something greater than oneself and killing for the sake of something material, like wealth. The former position is one that’s idealistic and moves towards a vision of a “just” world. The latter is one that’s nihilistic and treats the world of winner-take-all. Or is that really the case? Are the two ideas separate or do they bleed into one another? Could one assassinate as an ideal or choose to assassinate in order to move towards an ideal? Villeneuve allows these questions to fester by taking the parallel’s Sheridan’s script sets up between the cartel and the US government, the Mexican police force and the American police force, and so on, and forces the viewer to play a horrifying game of compare and contrast.

One act of violence by one side is met by a seemingly equal atrocious act on the other. A “good” character postures and makes a comment on a “bad” character but then takes action that seems just as egregious. Villeneuve chooses to showcase the “immoral” bouts of violence in more explicit detail and withhold the brutality within the “ethical” instances of violence. He gives just enough information for the viewer to imagine how a scene would progress given both the context clues and the explicit parallels, forcing the audience to come to their own conclusions regarding the mechanics and ethics underpinning certain bouts of brutality. The subjective process of imagining the violence generates an uncomfortable proximity to the situation and forces us to deal with the contradictions in values.

This move also generates an empathetic connection with Kate who is thrust into the same world of twists, turns, and moments of depravity and forced to find stable footing in spite of it all. The first act sets up Kate as resourceful, honest, and passionate. She dodges a bullet, kills an assailant, takes control of her group, and wants to achieve justice – an ideal protagonist to root for. However, the moment she volunteers to achieve her ethical vision, she’s forced into a world where friend and foe mean very little, and the boundaries between what the “good” and “evil” are doing is suspect. Thus, an action of violence which may be immediately justified as necessary can be questioned because the viewer experiences it with Kate; she’s a moral barometer that lets us traverse the hazy backdrop the film plays against.

Sicario’s genre peers would usually feature a character like Alejandro or Matt as the lead – a burly man of mystery ready to whatever it takes to get the job done. However, the choice to have the lead be a highly capable woman with her morals intact in a sea of men and violence provides a vantage point that gives the otherwise gratuitous moments of sheer visceral terror a counterpoint that has heft. She’s not a damsel in distress, and she’s not some battle-hardened veteran looking for a fight; she’s just a competent soldier looking to do the right thing in circumstances that go against everything she’s been taught to accept. Blunt exemplifies this by constantly modulating between a soldier capable of holding her own and someone way out of their depth being racked by panic. She’s the perfect vehicle for both her character and the moral fiber of the film. By building up her competency and then slowly revealing its limits within a brutal, new environment, the film is able to push forward new ground on a story and make what would otherwise be cliché’s into uncomfortable moments to unpackage.

In fact, it’s because Kate is presented as competent in the context of what she’s signed up to do that otherwise passive scenes on her part are absolutely dread inducing. For example, as opposed to a conventional car chase scene with professionals chasing after one another, a traffic jam scene where assailants can be in any car and the protagonist is a fish out of water is much more dreadful. Because Kate is established as capable, the film is able to emphasize just how unforgiving the reality of the cartel violence and dealing with them can be; the rules of war don’t do anything in guerilla situations. Thus, her position gives impetus not only to the primary questions of the film but allow the visceral moments to have genuine stakes associated with them.

Put together with the parallel storylines and the near-perfect pacing of the narrative, Sicario certainly merits a comparison to the Coen brothers’ masterpiece, No Country For Old Men, a neo-Western following multiple characters who hunt and are being hunted by one another. Like No Country, Sicario presents a dark vision of an age without values, where the values of older days have seemingly faded away to the gusts of apathy and violence. While Sicario may not be as ambitious in terms of its narrative construction and direction, it certainly evokes a similar feeling of wandering through a foreign land where sense and reason have vacated the premises.

However, Sicario does match No Country when it comes to its visuals. Serving as director of photography on both films, Roger Deakins gives Villeneuve’s vision the room it needs to breath and fully take hold. Dust in the air, shadowy environments, and ever-present sources of reflection reveal the complexity inherent in seemingly straight-forward situations by introducing a visual opacity which accentuates the themes. Nothing is what it seems and it’s within the shadows cast by projections that the “truth” can be ascertained; there’s a space between words and the paradigms they operate within.

Consequently, this makes Sicario a must-see experience for any fan of cinema ranging from the casual fan looking for an exciting time to the cinephile looking for something heftier to sink their teeth into. While veterans of cartel thrillers might be less surprised by plot twists, the sheer culmination of skill including, but not limited to, Deakins camera work, the late Jóhann Jóhannsson’s adrenaline-pumping propulsive score, Blunt’s humanistic yet confident performance, and of course, Villeneuve’s brilliant ability to put all these elements together makes this an experience no one should miss. If nothing else, the final few moments of the film exemplify how dedication to craft can elevate even a small movement into a grand gesture.

REPORT CARD

TLDR	Sicario is the rare movie that offers a totally engrossing time from start to finish across different types of moviegoers. With its propulsive narrative, fantastic acting, bloody and well-executed set-pieces, and its dark and foreboding score, the experience stays entertaining the whole time. However, it’s use of Emily Blunt in the role of the main character gives the movie a humanity and a vantage point that transforms it into a meditation on violence and the reality of the rule of law. It’s heady without being alienating and even more engaging as a result.
Rating	10/10
Grade	S

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