“The drug war on the U.S.-Mexico border has escalated as the cartels have begun trafficking terrorists across the US border. To fight the war, federal agent Matt Graver re-teams with the mercurial Alejandro.”
So, the first Sicario film was undeniably my favorite movie of 2015. It was raw, gritty and unapologetic. The tension in the film managed to carry over scene by scene and at times it was palpable. I was on the edge of my seat from beginning to end. When I heard that they were making a sequel to it, I really didn’t understand why. There was no way to out-do the first one.
Watching Day of the Soldado‘s trailer felt like it was missing something that made it less appealing, but as the release date grew closer I felt compelled to give it a go. I knew that Emily Blunt would not return for the second film when it was announced it was in production. I didn’t realize how much of integral part she was to this cast of characters. In the middle of a group of men that only do what needs to be done, she was the moral barometer of the bunch. She was also the protagonist that we followed into this underbelly of violence in which we lived vicariously through her tension and stress.
Now with Benicio del Toro and Josh Brolin tag teaming the protagonist role, it seems less relatable. Neither one of their characters are known for their decency and even when they try to bring it into play, it falls flat. We know all the vile things they are capable of so once they do something that seems redeeming, you really don’t care because we’ve seen them do the worst things to people. It didn’t help the audience connect.
Also, the great director Denis Villeneuve (Prisoners, Arrival, Blade Runner 2049) did not return to helm the film. Villeneuve nailed the art of suspense through great camera angles, and shots that put us dead center in the action. Stefano Solima did a decent job, but it lacked some of the edginess that the first film delivered.
The story was written by Taylor Sheridan who has quickly become one of my favorite Hollywood writers. He penned the first Sicario movie, Wind River and Hell or High Water. This plot though felt a little jumbled and at times hard to follow. It had great moments, but there were also moments where I was trying to figure out which side of the border they were on and what exactly everyone’s agendas were.
The action scenes were decent, but nothing could match the highway scene from the first movie. There’s only so much threat a cartel of henchman can pose to the U.S. military.
Another thing that bugged me was that we didn’t see any of the major cartel kingpins. Not of glimpse. It felt like we only connected with the lowest level Sicario’s and employees that came off as faceless characters to use as target practice.
Overall Grade: C
It wasn’t a terrible movie, but with Emily Blunt and Denis Villeneuve missing, it felt let there was a giant hole that Soldado couldn’t fill, and at times it came off a bit boring. Unfortunately since this is a sequel it has to be paired with the first film and that proved to be its biggest obstacle. Also the ending just felt unfulfilling. It just feels like it ended a few scenes before it needed to, and just left us with questions unanswered. See it on a lazy Sunday st home. It’s too drab for a date movie, and too standard in its action to be a theater-worthy watch.
Sicario: Day Of The Soldado
Action, Crime, Drama
Director: Stefano Solima
Black Label Media/Lionsgate
2 hours 2 minutes
‘Sorry to Bother You’ Just Might
It’s impossible to review Boots Riley’s directorial debut Sorry to Bother You without giving too much away. Before I spoil the surprises, let me say there is much to like about this surrealist dark comedy even as the film tries to toss you from the roller-coaster at regular intervals.
Cassius Green, the young African-American telemarketer played by Lakeith Stanfield, learns that faking a white voice on the phone is the only way to make money when cold calling. David Cross supplies the overdubbed white voice.
The thought of unionizing with his underpaid co-workers is thrown out the window when Cassius is promoted to Power Caller. Power Callers sell a whole different product – a work/life opportunity called WorryFree that is ostensibly slave labor. This doesn’t sit well with his unionizing friends, nor his artist/activist girlfriend Detroit, played by the impure-thought-inducing Tessa Thompson. Cassius has a choice to make that becomes clearer as the plot dives into absolute absurdity.
Nothing may prepare you for the half-horse half-human workhorses that show up in the third act.
Nothing may prepare you for the half-horse half-human workhorses that show up in the third act. Their B-movie bodies (replete with certain horse-like appendages) steal any bit of nuance from the story.
Armie Hammer plays Steve Lift, CEO of WorryFree, with a keen interest in leveraging Cassius as a “Martin Luther King type” workhorse he can control from the inside. Yes, there’s something to offend anyone that doesn’t know how to digest satire – from Detroit’s Murder Murder Murder earrings, to one dimensional white villains, an orgy scene, a two worded rap, and more horse peen than you can shake a stick at.
Yet it somehow works, at least for me. Reminds me of a time in the late eighties to mid-nineties when movies could be looser, made on the cheap, and weren’t expected to gross a hundred million dollars to be successful. Sorry to Bother You cost a little over three million and has made about fifteen as of this writing.
I’m not saying Boots Riley’s debut is comparable to, say, Spike Lee’s She’s Gotta Have It, but it does set the stage for his Do The Right Thing.
Amazon Prime Hidden Gem: Brawl in Cell Block 99
“A former boxer-turned-drug runner lands in a prison battleground after a deal gets deadly.”
Earlier this year I was watching a panel of critics list their top ten favorite movies of 2017. Of course you had IT, Get Out and others that we heard many times over, but one of the critics was extremely excited about a movie called Brawl in Cell block 99.
He said it was Vince Vaughn like he’s never seen him before and he had an excitement about it that was quite unique to the other critic’s reactions. The rest of the panel brushed him off (obviously never seeing the movie), but his enthusiasm intrigued me. A month or so later I saw Amazon Prime had the film available, so I decided to watch it.
The film starts as a slow burn, really fleshing out Vaughn’s character and the circumstances rising within his life. It gives you a great introspection of the downward spiral he is going through within his career and marriage, but quickly reveals that he is a fixer. It also gives you a glimpse early into the rage this man holds inside that he has full control over. A rage you can see has gotten him in and out of a lot of situations prior to where the film started.
As he continues, you can see this isn’t Vince Vaughn from Wedding Crashers, Anchorman or The Intern. This is the dramatic Vince Vaughn we haven’t seen in a long time. Actually it was a new Vaughn. One that had gotten bigger and much more intimidating. The title may fool you a bit, but this film is about a man on a sound rampage.
He goes into prison during the latter part of the movie and when this happens, the film actually shifts a few notches within a matter of scenes. Facing a predicament that threatens his family, he is forced to do some extremely brutal acts with an unforgiving nature that makes you question what you’re watching.
This isn’t Vince Vaughn from Wedding Crashers, this is a new Vince Vaughn.
The beauty of the film is how his brutal nature is so violent and aggressive, but yet so controlled and calculated. It was almost poetic how his character managed to tread this line so effortlessly and with an unflinching understanding of using his force to get exactly what he wanted.
I will say that at times this movie does get into absurd levels of violence that reminded me of Quentin Tarantino’s direction in Inglorious Basterds or Django Unchained. It didn’t fit the flow of the rest of the movie, and took you out of it at moments, but the violence was like nothing I’ve ever seen before. Even though disjointed, I was willing to accept it because of the Director’s gall to inject that level of cartoonish antics into such brutality.
Overall Grade: B+
This film was a great watch. Vince Vaughn was definitely a beast and really took this part seriously. The dialogue and environment building is palpable and the threats are unimaginable. You actually begin to root for this brute force of nature to win as he continues to encounter further unthinkable challenges, and handles them with his three best weapons: His two hands and his mind. Watch it! It’s good!
Brawl in Cell Block 99
Director: S. Craig Zahler
2 hours 12 minutes
IMDB reference click here
Eighth Grade is a Triumph of Bad Skin and Baby Fat
“Thirteen-year-old Kayla endures the tidal wave of contemporary suburban adolescence as she makes her way through the last week of middle school–the end of her thus far disastrous eighth grade year before she begins high school.”
That IMDB quote above sums up the story of Eighth Grade, but captures none of the nuances of Bo Burnham’s clever directorial debut. And that’s fine, because putting a finer point on the story might limit the audience in the same way giving the film an R rating did. Yes, this is some heady stuff, some of the sexual references may seem a bit too adult for your average thirteen year old. Still, this isn’t 1977, where your only choice for seeing naked humans might be sneaking onto the bookmobile and leafing through old copies of National Geographic. This is 2018, where all things good and bad are a thumb swipe away.
I would guess that thirteen year olds today know way more than I ever did at thirteen, and maybe more than I did at twenty. We insult them by suggesting they can’t navigate the sexual subjects Mr. Burnham handles with aplomb in Eighth Grade.
In a true breakout performance, Elsie Fisher plays Kayla, whose YouTube channel gets as many hits as she has friends… which is to say none. She’s a square peg at school who never came out of the shell she was in when she made that shoebox time capsule three years ago.
Kayla makes a few last ditch efforts to fit in before the school year ends, even if that means pretending she’s something that she isn’t. Or at least isn’t yet. Does she make all the right choices? No. Did you?
I saw the film with parents of young children and wondered if it played out like a horror movie to them. One scene in particular of a high schooler forcing a game of truth or dare on Kayla in the dark backseat of his car is appropriately creepy and expertly directed. Not to say that it’s a dark film, just a complex one. Even the trope that social media masks the truth more than reveals it is handled with a light touch. There’s a ton of laughs even if some make you uncomfortable.
Like last years Lady Bird, Eighth Grade succeeds in balancing the notion of what we are supposed to be with what we are becoming – and while most of us are not in eighth grade anymore, we are always becoming.
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