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Sicario: Movie Review

  • Merkwürdige Liebe

    Merkwürdige Liebe

    Desimartini | Updated - October 09, 2015 3:07 PM IST
    3.2DM (213 ratings)

    Verdict - A superbly modulated mood piece with a hollow core.

    SicarioWatch trailerRelease date : October 09, 2015

    Clearly, one thing that the tag team of director Denis Villeneuve and cinematographer Roger Deakins does excel at is creating a certain mood. It's as evident in 'Sicario' as it was in 'Prisoners' that Villeneuve and Deakins enjoy working with dimly lit frames and the play between light and shadow, coupled with the portent score results in some of the best moments in 'Sicario'. Forget story, forget characters, Villeneuve and Deakins could just make a feature length montage of, say, a cavalcade of police cars entering a tunnel and end up with engaging material. But nope, 'Sicario' comes with a narrative which, much like 'Prisoners', is exploitative and plain repulsive. There are several interesting threads running here: Kate (Emily Blunt) is the only woman on the mission to Mexico she's appointed on. The film unravels through her perspective, she's quite a badass but doesn't particularly seem to enjoy violence. There seems to be some running commentary about family, which is mentioned many times over by several characters in several context. When we first see the main villain late into the movie, he's humanized a great deal (the climax takes place over the dinner table where the mob boss is having a quiet dinner with his family.) But these links never substantiate into something significant - they just feel like stray accidents, partly thanks to the fact that the film keeps shying away from taking a stand - in short, emptiness confused with ambiguity. It's hard to enjoy the many technical pleasures it offers because this is a film with a high body count, grim "real" politics and begs to be taken dead-seriously. Much like 'Prisoners', it's technical virtuosity in service of essentially lame material.

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