Sicario - A bérgyilkos

El kellett indítanom a filmzenét, és "lenyűgözve" egy órán át nézegettem Cuidad Juárez utcaképeit. Mesterien filmezett, rendkívül hangulatos utazás Mexikó és Amerika kevésbé vendégszerető szegleteibe. Kiváló Josh Brolin, hosszú idő óta először Benicio Del Toro tehetségéhez és démoni dimenziójához méltó szerep. Az első fél óra, a helyzetbe, a környezetbe való belemerülés, az új kollégák bemutatása a lehető legrészletesebb rendezést képviseli, ami túlmutat David Fincher tehetségén és perfekcionizmusán (igen, és kitartok mellette). Ezért kár, hogy a kezdeti lendület és valami példátlan ígérete a forgatókönyv miatt fokozatosan elhalványul, és az eredmény valami más lesz, mint amit szerettünk volna. Az idealista FBI-ügynök főszereplő a mexikói kartellekkel vívott háborúban a dzsungel szabályaitól való elborzadást hivatott tükrözni a nézőben. Ha ebben a háborúban én lennék a csapat főnöke, azonnal kirúgnám, hogy ne akadályozza feleslegesen egy potenciálisan emlékezetes film cselekményének fejlődését, és ne vonja el a figyelmet a fontos dolgokról. De a forgatókönyvíró, aki úgy látja, hogy ő a Juarez és El Paso viszony keménységét kevésbé ismeri, mint az átlagos közép-európai néző, rá építi a sztori drámai magját (!). Kár, a Sicario - A bérgyilkos az év filmje lehetett volna Villeneuve rendezésének köszönhetően. (2015.10.23)

The reviews here criticizing Emily Blunt's character are stupid and stem from a misunderstanding of the film's concept. By choosing a fragile woman as the centre of the narrative, as a kind of wide-eyed and out of place Alice in Wonderland, Villeneuve makes the viewers themselves grope and question. Emily is a beautiful contrast to the rough world of tough men who shoot from the hip, and the final denouement is an emotional blast, giving the preceding events meaning and significance. In real life, you’ll probably end up like my friend who commented at the beginning "It's a bit confusing", and then at the end apologetically said "Okay, Villeneuve, you played me like a cat with a mouse." The kind of authenticity and rawness that Sicario presents is something that 99% of film production can only dream of. And one thing is certain, charisma has an identical twin, and his name is Benicio del Toro. (2015.12.20)

Sicario might be the work of pure genius. Somehow, I couldn’t find better words to describe it after I saw it. It comes up with a very brutal idea, which at the same time isn’t too original, either. The source of genius for this movie are the actors, for whom I have nothing but words of praise. Emily Blunt, Benicio Del Toro and Josh Brolin put in absolutely top-level acting performances that made you embrace ad reject every new moment in their lives the way they themselves embraced and rejected it. Another great asset of the movie is Denis Villeneuve’s direction, which turns what at first sight seems like a classical gangster movie into a whole lot more. All that was clear to me already in the opening action scene, which is incredibly raw and which at that point could find no match in similar movies. And obviously I can’t fail to mention the music of Jóhann Jóhansson, who is the man who took this movie to perfection with his unpleasant sounds, which made this movie as tense as a wire stretched across the road. I must admit that I haven’t felt so depressed before the start of an action scene as I did in this flick for a long time. All that proves that this movie stands on the genius of the authors themselves and I hereby tip my proverbial hat off to them. (2015.11.17)

An intense procedural that pulls out the best possible concentrate from all the ingredients. It draws you into the movie theater with audiovisual fire, and, with the passing of a few days, lets the juicy thought processes ripen, ingeniously hiding behind a terse story about the clash between a young idealist and the worn-out warriors against drugs; you rarely see absolutely great filmmaking like this so laced together. I'd start shoveling over the shiny statuettes right now. (2015.11.04)

Sicario is an intense action crime-thriller that betrays both the protagonist and the viewer. Most of the time, the film comes across as a surgically precise procedural in the mould of Zero Dark Thirty, giving us enough information and paying close attention to the preparation and execution of individual scenes of action that lead to more action, rather than focusing on the relationships between the characters. In fact, we spend almost the whole time watching a revenge movie along the lines of Ford’s The Searchers, but it doesn’t let us know who is seeking revenge for what (or if anyone is seeking revenge at all). The supply of information is severely limited (both of the brutal interrogations, where in a bit of unrestricted narration we abandon the protagonist’s perspective for a moment, end before we learn anything important), putting us in the same position as Kate, who finds herself in an unfamiliar environment controlled exclusively by men. Throughout the film, she tries in vain to understand how – in Javier’s words – “watches work” and to see beneath the surface instead of just watching time pass. Just as in the uncompromising prologue, when she barely dodges a shotgun blast, thanks to which she learns what’s hidden behind the wall, she’s mostly lucky and has zero control over what happens around her throughout the rest of the film. The protagonist’s limited access to information corresponds to the shooting of some of the dialogue scenes in whole units, thus emphasising her vulnerability to the hostile world in which she finds herself. Sicario is primarily a clever, brilliantly rhythmised genre movie with some of the most impressive action scenes of the year (one of which, like the climax of Zero Dark Thirty, apparently took inspiration from video game). It shows us the disgustingness, opacity and danger of the war with the drug cartels particularly through stylistic choices and the structure of the narrative. If we were to approach it as a psychological probe or a complex portrait of the conditions on the US-Mexico border (à la Traffic), it probably wouldn’t hold up. The heightened attention paid to the Mexican police officer from the beginning serves the purely utilitarian purpose of reinforcing our emotional engagement (and ensuring a powerful final shot), rather than offering a fully formed view from the other side. The evil that the characters face here has a unique form similar to that in Michael Mann’s thrillers (whose work with sound design during shootouts is no less precise), whereas Sicario’s western iconography and uncompromising (and not the slightest bit cool) approach to violence are reminiscent of Sam Peckinpah’s films. In fact, the thematisation of the (much less distinct than before) boundary between civilisation and savagery, and the crossing and shifting of that boundary, makes Sicario one of the best Mexico-flavoured revisionist westerns since The Wild Bunch. 85% (2015.10.23)