Traditionally, the term “war” refers to an armed conflict between geopolitical entities. It could be terminated by a declaration of surrender by the vanquished nation. However, the term has been appropriated. Now it is used to describe efforts to interdict permanent phenomena, which are fomented by an ever-evolving array of non-state entities. Hence, we currently have never-ending wars against global terrorism as well as the drug trade. Sicario immerses the viewer into a depiction of the latter.
Sicario kicks off with a boffo introductory scene. FBI agent Kate Macer (Emily Blunt) operates strictly by the book. She heads a special unit specializing in hostage situations. Dispatched to a building in the desolate Arizona desert, they are assigned to rescue kidnaped victims who have reportedly been seized by Mexican drug dealers.
In the aftermath of a bloody firefight, Kate and her crew discover that the building is a veritable house of horrors. More than 40 rotting corpses have already been wrapped up in plastic sheeting and buried behind the walls of the building. Meanwhile, other members of the squad discover a hidden cache of drugs. It turns out to be booby-trapped; a pair of agents die in the resulting explosion. Kate is racked with guilt over the loss of her two subordinates.
Summoned to a meeting by her supervisor (Victor Garber), she meets members of an interagency black ops operation. These include Matt Graver, a flip-flop wearing gringo (Josh Brolin), and a shadowy Latino, Alejandro (Benicio Del Toro). They offer Kate an opportunity to capture the Mexican drug dealers responsible for the death of her two agents. Kate jumps onboard.
Initially, she is told she will be flying to the border town of El Paso. However, when Kate boards the plane, she learns that the assignment is actually in the Mexican city of Juárez. What’s going on here?
Kate protests that her ambit of authority as an FBI agent is limited to criminal activities within the borders of the United States. Matt scoffs at her reservations. Does she want to catch the head of the drug cartel or not? Upon arrival in Juárez, Kate is greeted by the macabre sight of headless bodies hanging from an overpass and the sound of intermittent automatic gunfire.
Kate repeatedly tries to ascertain the scope of the clandestine unit’s actual agenda. When Kate asks Matt, he glibly responds that it is “to dramatically overreact.” Alejandro deflects her questions: “You ask how the watch is made. Keep your eye on the time.” Later, he tells Kate, “Nothing I tell you will make sense to your American ears.” As the strike force engages in increasingly ruthless activities, Kate becomes progressively more disturbed.
Throughout the film, the viewer will struggle to follow what is going on. However, this is not reflective of sloppy storytelling by the filmmakers. Indeed, the narrative perfectly captures the uncertainty that Kate is experiencing. Mirroring her confusion, viewers will find themselves struggling to divine the truth.
The screenplay by first timer Taylor Sheridan (best known as Deputy Chief David Hale on “Sons of Anarchy”) is nothing short of brilliant. It boasts both great plot twists and clever dialogue.
In what would customarily be a male role, Sheridan provides a distaff protagonist. Laudably, Sheridan resisted pressure to revise the gender of his hero. His refusal adds an extra dynamic to the film. Blunt’s character struggles to fit into the testosterone-dominated world of law enforcement. Brolin and Del Toro also provide vivid, compelling portrayals.
Once again, Québécois director Denis Villeneuve (Prisoners) demonstrates consummate skill combining a complex, action-packed narrative with highly nuanced issues. Villeneuve does a remarkable job of maintaining the tension and pacing of the film.
Sicario is not only dramatically riveting; it serves as a conceptually provocative critique of the morally murky war on drugs.
Sicario
****
Emily Blunt
Josh Brolin
Directed by Denis Villeneuve
Rated R
