Saturday, 31 October 2015

P.S. Sicario

Sicario is an assiduous, pulsating work of art, a graphic feature of inspired technical verve, tense and satisfying with rounded performances, charged dialogue and unusual utility of its lead character. With his latest feature, director Denis Villeneuve breaks into the main frame of action cinema - his previous efforts, Enemy, Prisoner and Incendies - terrific works easily overlooked by main audiences, a precursor to his most accomplished film of yet. Sicario, meaning "hitman" in Mexico, illustrates FBI agent Kate Macy's (Emily Blunt) rude awakening to the CIA's unorthodox methods of operation in utilising one drug lord to take down another.  The feature is brilliantly reminiscent of the the precision of A Most Violent Year and the technical nuance of the Coen Brothers' No Country for Old Men, with scene-stealing villain played by Benicio Del Toro, comparable to No Country's own Anton Schigurh. Although ebullient and masterly in its execution however, Sicario cannot be deemed faultless, ambiguity is intended in this feature but it almost oversimplifies its content and threatens to undermines its integrity.  The element of originality fades in and out, at times forsaken in place of entertainment. Ultimately, the feature identifies as a traditionally structure cartel movie with well-established genre traits presented in a superb tech package: components of aerial camera work perfectly complemented with a heavy, ominous score. Villeneuve creates in Sicario a film enigmatic, brash and beautifully unrelenting, far from inspired but prolific nonetheless.


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