Sicario: Day of the Soldado
Posted on June 28, 2018 at 5:54 pmC
|Lowest Recommended Age:||Mature High Schooler|
|MPAA Rating:||Rated R for strong violence, bloody images, and language|
|Profanity:||Constant very strong language|
|Alcohol/ Drugs:||Drug dealing|
|Violence/ Scariness:||Extensive and intense peril and violence involving children, teens, and adults, terrorism, guns, chases, explosions, grisly and disturbing images, many characters injured and killed|
|Date Released to Theaters:||June 29, 2018|
|Date Released to DVD:||October 1, 2018|
The first Sicario movie had stunning cinematography by Roger Deakins, a character with integrity and courage, in a performance of equal integrity and courage from Emily Blunt, to bring us into the complex, layered story of moral quagmires around drug smuggling.
This sequel, “Sicario: Day of the Soldado,” has none of that. While the first film thoughtfully explored issues of whether the ends justify the means and how to fight for the rules when the people on the other side do not abide by any, this one starts out with all the nuance of ultra-partisans screaming at each other on cable news and then, even worse, gets smug about it. The movie begins with stark claims about drugs and people crossing the border from Mexico, and then a couple of suicide bombers blow themselves up. Just to make sure we GET THE POINT, we see law enforcement discover Muslim prayer rugs out in the desert and we see a mother with a young child plead with a suicide bomber to let them leave before he blows them all up.
And so the Secretary of Defense (Matthew Modine, pretty much relegated these days to seedy bad guys who direct tougher types to do the bad stuff) declare drug smugglers terrorists, which literally triggers a new range of strategic responses. “No rules this time.” Blunt’s character is gone (understandable, considering where we left her), so our focus is on two other characters from the first film, lantern-jawed, whatever-it-takes Matt Graver (Josh Brolin) and attorney turned revenge-seeker Alejandro Gillick (Benecio del Toro).
Part 2 is also written by Taylor Sheridan, but director Denis Villeneuve has been replaced by Stefano Sollima (television’s “Gomorrah”) and Deakins has been replaced by Dariusz Wolski. And subtlety has been replaced by a storyline just a notch above “The Expendables.” Graver (what a name) warns SecDef that “If you want to see this through, I’m going to have to get dirty.” “Dirty is exactly why you’re here,” the Secretary replies.
Actually, it’s deniability, as we will learn to no one’s surprise. Deniability with an unlimited budget. The plot is straight out of “Mission: Impossible” the 1960’s television series, the ones with the “As always, should you or any of your Force be caught or killed, the Secretary will disavow any knowledge of your actions.” Lotta take-out, lotta staring at screens barking orders, lotta thousand yard stare-offs.
Graver goes off to hire a bunch of Erik Prince-style black ops mercenaries for $10 million a month. “Now you’ll be able to afford that hockey team,” Graver congratulates him. If they kidnap the 16-year-old daughter of the head of one of the biggest drug cartels, he will blame the rival cartels, and they can save us all a lot of bullets by wiping each other out. What could go wrong?
Yeah, pretty much everything, with a mountain-high body count along the way, and very little to show for it, not carnage about the numbing impact of fighting an implacable, amoral, insurmountable foe, just carnage for the numbing effect of being in a movie that has run out of ideas.
Parents should know that this film includes constant crime and law enforcement peril and violence involving adults and teens, terrorism, suicide bombers, chases, guns, explosions, many characters injured and killed, disturbing images, moral, legal, and political issues, and very strong language.
Family discussion: Is it possible to fight people who break the law without breaking it ourselves? What should voters know about these kinds of operations?
If you like this, try: the original “Sicario,” Traffic,” and “Sin Nombre”