Sicario: Day of the Soldado is a textbook example of diminishing returns. What is missing most of all is Kate Macer, the Emily Blunt character from Denis Villeneuve’s original Sicario (2015), who provided us with an entry into the seriously skewed ethics of clandestine missions across the US-Mexican border in the unwinnable war on drugs. Also missing is Roger Deakins’ excellent camera work. Soldado, again written by Taylor Sheridan, and directed by Stefano Sollima, an Italian director with experience in crime stories (the Gomorra series), focuses instead on the two characters we already know: Matt Graver (Josh Brolin), the US government’s go-to guy for unsavoury operations and unusual footwear, and Alejandro (Benicio del Toro), the vengeful hired gun. This time round, the US government finds that terrorists disguised as Mexicans have crossed the border. That makes the crossing a terrorist act in their eyes, and so they are allowed to retaliate. See what I mean by skewed ethics? Continue reading
There are many things in No Country for Old Men that recall the Coens’ earlier films, specifically Blood Simple and Fargo; yet it feels notably different in many ways from those films. Intolerable Cruelty (and, from what I hear, Ladykillers) also felt unlike the earlier movies the brothers had made – in some ways, they felt more like someone was trying to imitate their style and succeeded in isolated scenes but, on the whole, failed… Failed, that is, to make a good Coen movie as well as a good film in general.
No Country for Old Men is a good movie. It may even be the best Coen film to date. Chances are I’ll never love it as much as Fargo, but that’s also for nostalgic reasons. Fargo is by no means anything less than a fantastic film, but it doesn’t have the sheer compactness and focus of No Country for Old Men.
And it doesn’t have Anton Chigurh.
Chigurh, as played by Javier Bardem, is one of the scariest movie characters in a long time. I’ve never read any Cormac McCarthy novels, and for all I know he was already frightening in the book, but what Bardem and the Coens make of him is chilling.
However, the film has plenty more going for it than Bardem’s psychotic Prince Valiant and his pneumatic slaughterhouse device. It works so well because the three main characters – Chigurh, Llewellyn Moss (Josh Brolin) and Ed Tom Bell (Tommy Lee Jones) – complement each other so well. The story and the protagonists are balanced to perfection; you’ll rarely see a film that is as intricately structured. Bell and Chigurh are like two poles, balanced on the axle that is Moss: not a bad guy, but deeply flawed and too sure of himself, even after he’s seen the force of nature that is the killer following him. Moss commits several stupid acts in the film, as well as some brilliant on-his-feet thinking, but his greatest stupidity lies in thinking that he has a chance against his opponent. Bell, on the other hand, seems to understand (and accept, in the very end) that there is some evil that is beyond comprehension and that cannot be tricked or beaten.
If you’re like me, and an Academy Award is more likely to put you off a film, do yourself a favour. If you enjoy great acting and don’t mind bleakness that makes Sweeney Todd look like Charlie and the Chocolate Factory (okay, that’s not quite fair – like Edward Scissorhands, perhaps), do go and see this film. And see it at a cinema rather than on TV. Roger Deakins’ work, which once again is quite magnificent, deserves the big screen. I just say The Assassination of Jesse James by the Coward Robert Ford, The Man Who Wasn’t There, and, once again, Fargo.