Sicario: Day of the Soldado by Stefano Sollima (2018)
A new installment in this series dedicated to films about criminal enterprises.
Mexican drug cartels start helping terrorists enter the United States. Agents Matt Graver and Alejandro Gillick step in.
“Will you help me start a war?” “Against who?” “Against everyone” (Matt Graver & Alejandro Gillick)
No Rules.
Agent Graver has no doubts: if you want to start a war, just kidnap the prince, and the king will start it for you.
It doesn’t matter which side you’re playing for, whether you represent the state or you’re considered a criminal. What matters is the goal, the outcome.
And then anything goes: you can trample over every rule, do the dirty work, and wait for the enemy’s countermove.
Because evil is everywhere, it takes many forms and fuels paranoia. The means used to defeat it don’t matter as long as they’re effective: in America in 2018, it’s an eye for an eye, a tooth for a tooth.
In this sequel to Sicario, the director seems to focus entirely on the action. Gone is the character of Kate from the first film, gone are her moral doubts and her condemnation of methods that don’t follow protocol.
The movie flows quickly and is undoubtedly well-directed, living up to expectations.
An impeccable, desperate, and nihilistic product that shifts the focus to drug and human trafficking; full of twists and featuring at least a couple of memorable sequences.
But don’t expect real emotions: the film lacks the charm of its predecessor and seems more interested in form than substance.
Josh Brolin and Benicio del Toro are absolutely perfect for their roles, but equally surprising, in my opinion, is the young Isabella Moner as the cartel boss’s daughter.
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