Emily Blunt’s righteous FBI agent Kate Macer was the conscience and marrow of Denis Villeneuve’s 2015 drug war brutality fest Sicario. Although her job entailed plenty of encounters with headless or bullet-riddled corpses, her eyes always betrayed that they couldn’t quite believe what they were seeing. When you’ve got an actor like Blunt, your movie can be as belligerent and potentially unpleasant as you want: her soul will always class up the joint. So much for class in Sicario: Day of the Soldado, a sequel directed by Stefano Sollima (whose credits include the Italian TV series Gomorrah). There’s not a Blunt in sight, though special task force macho men Matt Graver (Josh Brolin) and Alejandro (Benicio del Toro), so enigmatic he has no last name, return. This time their job is to stir up a war between rival Mexican drug cartels; part of the scheme involves kidnapping a drug lord’s scrappy teenage daughter, Isabel (Isabela Moner). Although she has enough teen-beat orneriness to kick both Matt’s and Alejandro’s butts, the movie doesn’t let her. Still, when Isabel’s onscreen, Soldado at least seems alive with something other than bare-knuckle testosterone. Not that there’s anything wrong with that. But a little goes a long way, and despite the presence of the sleepily charismatic del Toro–his beleaguered Alejandro carries heavy baggage both in his heart and beneath his eyes–the Soldado man show does grow tiresome. The brutishness here is more muted than in its predecessor, though there’s no shortage of people getting blammed with automatic weapons, if that’s your thing. And the movie treads carefully around border-control issues–it’s squarely on the side of ordinary people just trying to make a better life, instead of relying on drug-gang stereotypes for its juice. Still, Soldado skirts anything that might be seen as political. There’s hardly a border-patrol agent in sight–it’s easier for the movie to downplay their existence. In real life, Soldado‘s context is supercharged right now, even if the filmmakers couldn’t have known how tensions around immigration would reach a boil by the film’s release. But if you’re looking for a movie that speaks to the moment, a mindless action-thriller probably isn’t it. This appears in the July 09, 2018 issue of TIME. Sign up for our Entertainment Newsletter. Subscribe to More to the Story to get the context you need for the pop culture you love. Please enter a valid email address. * The request timed out and you did not successfully sign up. Please attempt to sign up again. Sign Up Now An unexpected error has occurred with your sign up. Please try again later. Check the box if you do not wish to receive promotional offers via email from TIME. You can unsubscribe at any time. By signing up you are agreeing to our Terms of Service and Privacy Policy . This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Thank you! For your security, we've sent a confirmation email to the address you entered. Click the link to confirm your subscription and begin receiving our newsletters. If you don't get the confirmation within 10 minutes, please check your spam folder. Contact us at letters@time.com.<doc-sep>Depending on how you’ve been interpreting the news for the past few weeks, Sicario: Day of the Soldado has either perfect or abysmal timing. In this sequel to the 2015 film, Mexican cartels are smuggling contract killers and violent criminals across the border. After someone blows up a department store in Kansas City, most people assume the perpetrators came across the Mexican border. So the US government puts the cartels on its list of terrorists and declares war. The movie isn’t ignorant enough to declare a facile, soundbite-friendly solution like a wall to be an answer to the problem. But that’s only because this is a screenplay by Taylor Sheridan, and in his movies (including the first Sicario, Hell or High Water, and Wind River) there are no solutions — just grim realities and occasional pauses. In Sheridan’s renderings, the vast American West has all the brutality and might-makes-right trappings of older Westerns, but without the suggestion of justice that often accompanied those stories. Rating: 1.5 out of 5 vox-mark vox-mark vox-mark vox-mark vox-mark All of which could have made for a good and even necessary film. The complexities of the issues at the US Mexican border are unusually central to national conversation right now. But Sicario: Day of the Soldado is weirdly weak, more of a knock-off than a sequel — and most definitely a wasted opportunity. Sicario: Day of the Soldado loses the emissary we needed to enter its violent world The biggest problem with Sicario: Day of the Soldado, written by Sheridan and directed by gritty crime drama veteran Stefano Sollima, isn’t hard to spot right off the bat. The original film (directed by Arrival’s Denis Villeneuve) gave us an inroad into a complicated and constantly shifting landscape in the person of agent Kate Macer (Emily Blunt), who was our proxy in the story — a smart but naive character who slowly came to discover the full horror of the way matters of drug trade across the border were really settled. But Kate is gone now (and so is her partner, who was played by Get Out’s Daniel Kaluuya). The main focus has shifted over to the two men who spent most of the first film either yelling at her or refusing to explain what was going on: government “consultant” Matt Graver (Josh Brolin), whom the secretary of defense (Matthew Modine) enlists to solve the problem, and his preferred and apparently indestructible operative, Alejandro (Benicio del Toro). With those two men at the helm of this story, it’s even more brutal and violent than the first. But it’s also missing the center of gravity that anchored Sicario. We had something horrific to discover alongside Kate, who was hardly a shrinking violet to begin with. Now we’re at a curious remove from the story, watching people plot and plan and brutalize. To figure out a way to shut down the cartels’ ability to smuggle people in and out, Matt devises a plan to pit them against one another by kidnapping the daughter (Isabela Moner) of one of the kingpins and letting them think it’s the work of a rival cartel. It is wearying to see yet another film like this in which women mostly exist either to say clueless and ineffectual things (in this one, that character is played by Catherine Keener) or to be collateral damage in the machinations of violent men. It’s also more than a little exhausting to see another movie in which most of the nonwhite characters are treated as expendable figures rather than people. As with the early (and totally unnecessary) scene in which terrorists blow up the department store (one muttering an “Allahu akbar” right before blowing up himself, a mother, and a little girl), these characterizations aren’t wholly fabricated, and the movie can reasonably cover itself by saying that the problem isn’t in the story, but in the violent, nihilistic machismo of the real people and situations on which it’s based. Plus, Alejandro is himself Colombian, which is a good if somewhat stock way of complicating the matter. The issue isn’t that these representations are necessarily inaccurate, but that they’re too easy. There are more than a few places in Sicario: Day of the Soldado where you can see the plot point coming from a mile away, right down to the line of dialogue. It’s inexcusable for a movie that tries to say daring and surprising things about a very urgent matter of cultural and political importance to be so thuddingly predictable in so many places. There’s another issue. The first 10 minutes of the film is a riot of images, some of them powerful, all of them memorable and highly provocative: people being run across the border, explosions in a department store, an Islamic terrorist detonating a bomb as a mother pleads for her child’s life. Later, the film tries to subvert the expectations it sets up in those scenes (including our understanding of who the bombers actually were). It wants to criticize and challenge the mindset it sets up early on. However, in cinema, words are powerful, but images are much more powerful. And the critique comes briefly, and mainly in dialogue, not images — lines tossed off in the course of a scene once we’re caught up in the action. So what stays with you is the idea that we see, in the images of thousands of violent Islamic terrorists crossing the border, not the spoken rebuttal of that idea later. If you want to criticize prevailing ideas about something as controversial as policing US-Mexican border — let alone Islamic extremism — in a film, you’re going to have to understand and harness the true power of the medium. But this film never does. It feels suspiciously like like Sheridan’s screenplay wants to have both have its cake and wolf it down: violent machismo and reactionary explosiveness, later papered over by a dose of wokeness. Sicario: Day of the Soldado maintains the shell of its predecessor, but doesn’t know what to do with it To say that images are powerful shouldn’t be mistaken for high praise of how this movie looks. The first Sicario was shot by Roger Deakins, who finally won his first Oscar for Blade Runner 2049 last year and is indisputably one of the greatest living cinematographers. It looked stunning, with colorful vistas that threw the inky darkness of silhouettes and jagged rocks and mountains into sharp, menacing relief. Those shots were the movie in microcosm: beauty and terror, without a clear sense of which was winning. No such luck with Sicario: Day of the Soldado, which looks like the filmmakers watched Sicario and then tried to imitate it with drone shots and some bright colors. That means the moral import of those rough-hewn landscapes are gone, too. It’s an imitation that doesn’t understand the soul of the artistic choices it’s mimicking. That is a handy cipher for all of Sicario: Day of the Soldado, which still looks like a Sicario movie and acts like one and talks like one. It has all of the violence and moral ambiguity, too. It has many of the same characters, and the same basic concern, though this installment swaps out drug smuggling for human smuggling. But it’s missing its predecessor’s sense of ambivalence and helplessness. For the most part, its characters are set in their ways before they even show up on screen, and though there are some brief gleams of humanity — Alejandro’s care for the kidnapped teenager who, like Kate in the previous film, seems to remind him of his murdered daughter — for the most part they start out as stock tortured antiheroes who seem trapped in a Sisyphean loop. And end the film the same way. There’s no reckoning with what that really means in the two hours in between. If you’re going to boot Kate out of the story and leave in Matt and Alejandro, then you owe it to those characters to access the richness that’s possible when you drop two stock characters into incredibly complex situations. The possibilities for exploring morality, justice, ethics, otherness — things the Western has always been interested in — are ripe for the picking. But Day of the Soldado leaves them on the tree. It’s not clear to me whether Sheridan’s worldview prevents him from thinking things like justice and goodness really can exist, or whether he simply thinks they’re not worth addressing in the characters’ journeys. Either way, that worldview makes for flashy, blood-drenched cinema, which is just what Sicario: Day of the Soldado is. That can be fine for a while. But eventually, you may start to suspect that beneath all that dust and gore and apparently timely plotting is an echoing chasm with nothing to say. Sicario: Day of the Soldado opens in theaters on June 29.<doc-sep>
Josh Brolin and Benicio del Toro are back in the arthouse film that may become a franchise. Like almost every other movie this summer, “Sicario: Day of the Soldado” is a sequel. However, it bears little resemblance to the onslaught of overgrown lizards, animated families, and Marvel brethren; it cost much less, and will gross much less. But what really sets “Soldado” apart is it was never meant to happen. Sequels are as old as the movies. Comedy silent shorts often built on a continuing set of characters. Rudolph Valentino followed “The Sheik” with the even-bigger “Son of the Sheik.” Douglas Fairbanks went from “The Mark of Zorro” to “Don Q, Son of Zorro.” In the early decades of sound, studios nurtured franchises that included The Thin Man (six titles), the Hardy Family (16 titles), Dr. Kildare (16 movies, plus radio and TV series) and Ma and Pa Kettle (10 titles). Rarely, studios struck twice on a major success: 1944 Best Picture winner “Going My Way” immediately spawned the even-better “Bells of St. Mary’s,” and 1942 winner “Mrs. Miniver” spawned “The Miniver Story” in 1950. Sequel power intensified in the 1960s, when United Artists launched the James Bond films, the Sergio Leone Italian westerns, and the Pink Panther films. However, studios still viewed sequels as the exception rather than the rule until 1974, with “The Godfather Part II.” Released in 1972, “The Godfather” was a massive popular success that won three Oscars, including Best Picture. Two years later, its sequel was a hit; it also became Hollywood’s first studio movie with a title followed by a number. Among those that followed were “The French Connection,” “American Graffiti,” “Jaws,” “The Poseidon Adventure,” “The Sting,” and “Rocky.” Even “2001” led to “2010.” Today, most expensive movies are made only because they have sequel or franchise potential, limiting interest in dramas and other standalone projects. The global nature of movies makes familiarity an asset and originality often a detriment. All of which makes “Sicario: Day of the Soldado” very rare indeed: a wide-release sequel for a film that cost $30 million and made $89 million worldwide (adjusted). Those numbers aren’t embarrassing, but they’re only modestly profitable — and they certainly aren’t the stuff of self-evident sequels. The original “Sicario” was an independent production acquired by Lionsgate at Cannes 2014, shortly before production began in New Mexico. It premiered at Cannes 2015 to much acclaim and, following a two-week New York/Los Angeles platform launch, opened in 2,620 theaters where it faced the opening weekend of “The Martian.” Opening to $13 million, it went on to achieve a nearly four-times multiple. It also became an awards-season contender with reviews better than several of the Oscar Best Picture nominees like “The Big Short” and “The Revenant.” Ultimately, the film earned three craft nominations, including Roger Deakins for cinematography. Lionsgate Positive word of mouth set it up for above-average home viewing interest, especially with a plot that wouldn’t have been misplaced on premium streaming: lawmen on both sides of the border fight drug cartels, with higher production values and stellar performances. It also made a name out of respected Quebecois auteur Denis Villeneueve, who went on to direct “Arrival” and “Blade Runner 2049.” Similarly, screenwriter Taylor Sheridan later wrote “Hell or High Water” as well as writing and directing “Wind River” and the new Paramount Network TV series “Yellowstone.” For the sequel (Lionsgate sold domestic rights to Sony), Sheridan is back along with leads Josh Brolin and Benicio del Toro, but not co-lead Emily Blunt. She was a standout in the first film, but chose to make the sleeper hit “A Quiet Place” and take on “Mary Poppins Returns.” Also missing is Deakins; he’s replaced by the well-regarded Dariusz Wolski, Ridley Scott’s DP on “The Martian” and “All the Money in the World.” But it is the choice of Stefano Sollima as director that suggests why this sequel was made. He’s virtually unknown in this country; if he’s familiar, it’s from “Gomorrah,” the Sicilian mafia TV series he largely directed (based on a 2008 movie) that is now a Netflix hit. “Sicario: Day of the Soldado” has a sensibility that suggests an eye toward creating a franchise. While reviews are only modest this time, Sollima is credited with attention-grabbing story elements that could recur in future efforts. Emanuela Scarpa/Sundance TV The film is a U.S./Italian coproduction, with an international release that has most territories also opening this week.