Jun 28, 2018 - Benicio Del Toro in Sicario: Day of the Soldado. And Sicario 2: Soldado's attention to footwear shows it understands what made Villeneuve's.
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Making a sequel to Denis Villeneuve’s “Sicario” felt unneeded to most fans when the project was first announced, and the fact Villeneuve, Emily Blunt, and cinematographer Roger Deakins would not be returning created more ill will. Despite some skepticism, it turns out fans have nothing to worry about. First reactions to the film, officially titled “Sicario 2: Day of the Soldado,” have landed on social media and they are all enthusiastic.
“Sicario 2” is being called “amazing,” “superb,” and “fantastic” in the first round of reactions. Uproxx’s Mike Ryan says the movie is “tense and gritty,” while The Playlist’s Gregory Ellwood says the sequel has “unexpected heartbreaking moments,” plus “strong performances” from Benicio Del Toro and Josh Brolin.
“Day of the Soldado” finds Del Toro’s Alejandro being recruited once again by Brolin’s U.S. government agent Matt Graver to kidnap the daughter of an infamous drug kingpin. The plan is to use the kidnapping to start a war between two drug cartels that will hopefully wipe both of them off the map. When the plan is exposed, Alejandro is ordered to execute the daughter (Isabela Moner), but not even a trained assassin like Alejandro is willing to murder a child. The movie is directed by Italian filmmaker Stefano Sollima.
“Sollima gave me the sequel I thought I didn’t want,” Variety’s Kristopher Tapley said. “Wonderful storytelling economy. Wicked sense of tension throughout. Brolin/Del Toro step it up. [Taylor] Sheridan is a beast on the page, man. Love. It.”
Numerous critics agree “Sicario 2” will leave fans wanting a third installment in the expected trilogy. The movie opens nationwide June 29. Check out the first reactions below.
Taylor Sheridan’s sequel Sicario: Day of the Soldado deepens the characters played by Josh Brolin and Benicio del Toro in unexpected ways. Director Stefano Sollimo delivers. June 29.
— Anne Thompson (@akstanwyck) June 15, 2018
SICARIO: DAY OF THE SOLDADO is, surprisingly, pretty awesome. Tense, gritty, and ends on a note where I want more. Benicio del Toro is amazing.
— Mike Ryan (@mikeryan) June 15, 2018
Saw Sicario: Day of the Soldado last night. It’s FANTASTIC. It’s doesn’t have the visual splendor of Villeneuve’s first film, but Taylor Sheridan’s screenplay is SUPERB. Film has unexpected heartbreaking moments and strong performances from Del Toro and Brolin. pic.twitter.com/SH5gGOQnvv
— Gregory Ellwood 🎬 (@TheGregoryE) June 15, 2018
Moreover, Soldado is VERY timely. There is little black and white on the border between Mexico and the US. It’s a grey zone and Sheridan’s script isn’t afraid to go there. It’s a dramatic thriller with something to say. Go see it, because I can’t wait to see a third chapter.
Sicario Day Of The Soldado Youtube
— Gregory Ellwood 🎬 (@TheGregoryE) June 15, 2018
Moreover, SOLDADO should have been at CANNES either in or out of competition. I heard the festival wanted it, but the decision was made note to go even though Del Toro was Un Certain Regard jury prez. Would have been a strong critical kick off for them and much needed buzz.
— Gregory Ellwood 🎬 (@TheGregoryE) June 15, 2018
I’m told I can now tell you this tweet referenced “Sicario: Day of the Soldado.” https://t.co/Cz7YgoXlZV
— Kristopher Tapley (@kristapley) June 15, 2018
It’s gooooood. Or at the very least, straight up my alley. Sollima gave me the sequel I thought I didn’t want. Wonderful storytelling economy. Wicked sense of tension throughout. Wolski goes to TOWN. Brolin/Del Toro step it up. Sheridan is a beast on the page, man. Love. It.
— Kristopher Tapley (@kristapley) June 15, 2018
Isabela Moner is stellar as well. And the film is dedicated to Jóhann Jóhannsson, of course, whose work is well-respected by Hildur Guðnadóttir (a cellist on the first). “The Beast” gets such a badass reprise, though. Anyway, I’ll see it again ASAP.
— Kristopher Tapley (@kristapley) June 15, 2018
Happy to report ‘Sicario: Day of the Soldado’ is *extremely* well made and features fantastic performances from Josh Brolin and Benecio del Toro. As you might expect, Taylor Sheridan’s screenplay is excellent. Really hope the film does well so they can complete the trilogy. pic.twitter.com/hLkly137jA
— Steven Weintraub (@colliderfrosty) June 15, 2018
Dark doesn’t begin to describe SICARIO: DAY OF THE SOLDADO. It’s fucked up and I kinda loved it. Maybe not quite as much as the first film, but Brolin & Benicio are FIRE & Taylor Sheridan proves again why he’s one of the best writers in town. Not a perfect sequel but VERY badass
— Jeff Sneider (@TheInSneider) June 15, 2018
Sicario 2 or Soldado or whatever we’re calling it is really amazing. Tense, thrilling, and surprising with solidly orchestrated set pieces and real emotion. It’s like “Clear and Present Danger” for a new generation (I mean that in a good way). And bring on part 3 (please). pic.twitter.com/wfMMlSfmEd
— Drew Taylor (@DrewTailored) June 15, 2018
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Early reviews are coming in for “Sicario: Day of the Soldado,” the sequel to Denis Villeneuve’s 2015 crime thriller about a secret border drug war between the United States government and Mexican cartel. According to critics, Stefano Sollima’s “Day of the Soldado” ramps up the violence and tension as well as provides memorable performances from Benicio del Toro and Josh Brolin and proves itself to be a brutal-but-worthy entry in a new series of gritty modern western films, notching a 71% score on Rotten Tomatoes so far.
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The first “Sicario” holds a 93% on Rotten Tomatoes and received three Academy Award nominations.
Variety’s Peter Debruge described “Day of the Soldado” as topical, given the recent controversies regarding the Trump administration’s border policies, but it’s not as though the film that will settle the debate surrounding the issue, saying, “Tense, tough, and shockingly ruthless at times, ‘Soldado’ doesn’t show much interest in the individuals who dream of a better life in the United States, any more than ‘Rambo: First Blood Part II’ cared about the victims of the My Lai Massacre. Rather, ‘Soldado’ is a grim, serious-minded look at what America can do to disrupt this system — one that’s much too smart to think that a border wall will solve anything, but downright risible in its own might-makes-right politics, which reduce to a single, terse catchphrase: ‘No rules this time.'”
Debruge further complimented on screenwriter Taylor Sheridan’s “mastery” of the modern western, and praised Brolin’s return, saying, “he reveals the conscience beneath this unflinching samurai’s thick leather hide — which is the last thing you’d expect to find when ‘Soldado’ reintroduces him interrogating a Somali pirate, something he does with a cruelty that would make most people long for good old-fashioned torture tactics.”
Here are some takeaways from critics:
“Even without DP Roger Deakins and the late Icelandic composer Jóhann Jóhannsson aboard to sculpt the movie’s nerve-racking sense of dread, ‘Day of the Soldado’ feels like a high-class extension of their contributions to the ominous atmosphere that was ‘Sicario’s’ signature — one that plays off audience paranoia, exploiting the idea that we’re in way over our heads, watching professionals who’ve done and seen far worse than we could ever imagine as they double-cross one another. There’s a sequence in which three American Humvees power along a dirt road at top speed, where the characters can hardly see anything but dust billowing outside the windows, in which the near certainty that something horrible will happen made me feel like I was suffering a slow-motion heart attack. And just when I thought I couldn’t take the suspense any longer, the scene went fully FUBAR.”
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“The original ‘Sicario’ was hard-edged and dark, concerned with the way violence can erode the soul, and whether or not a soul is even needed in the complex world of ever-increasing criminal enterprise at the Mexican border. ‘Day of the Soldado,’ with its well-choreographed chases, excellent photography (by Dariusz Wolski), fast pace, intense music (by Hildur Guðnadóttir), and badass gunfights, reads more like an action film than a drama. The darkness is still there, and the film climaxes with moments of intense confrontation rather than chases and large explosions, but said darkness is folded into something more forthrightly thrilling. It’s a tonal shift that works well, at least from a technical standpoint.”
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“Alas, all the darkness in the world doesn’t make ‘Day of Soldado’ feel real, and errant mentions of a weak-stomached POTUS violently return us to the atrocities happening beyond the frame. Gellick and Graver might retrieve some missing part of themselves, but who gives a damn about their humanity when so many others on the fringes of this story have theirs forcibly stripped away? It’s not just in the news, it’s also in the movie, pulling our attention to where it naturally wants to go. The ultra-seriousness of the first ‘Sicario’ relied on people not knowing much about what was really going on at the border. Now we all know too much.”
“This sequel banishes [Emily] Blunt, and her blunt outrage. It’s a bit better, a lot dumber. The new tone’s set early. Alejandro assassinates a cartel functionary in broad daylight. He’s wearing a mask — only so he can take it off, though, a flourish like David Caruso and his sunglasses. He executes the man, firing his gun exactly (I counted) 417 times. So Sicario 2 is junk, but it’s stylish junk. Director Stefano Sollima has worked in Italian crime thrillers, and he brings a run-and-gun humanity to this, suggesting complexities of border society (where the first film defaulted to moody hellscapery).”
“Director Stefano Sollima is able to evoke the original ‘Sicario’ despite having different pieces in play. He’s got talented cinematographer Dairiusz Wolski (‘Alien: Covenant’) in for Oscar-winner Roger Deakins, and he has a brooding score from Hildur Guðnadóttir in for the late Johann Johannsson. The sequel feels in line with the original, and yet that only serves to highlight where the new movie falls short, particularly with regards to the story. The new film desperately needs a character like Emily Blunt’s Kate Mercer, someone with a firm point of view to help navigate the chaos created by Matt and Alejandro. Without that character, you just have two guys wreaking havoc and believing the ends justify the means. Without a counterbalance, the movie devolves into bloodshed upon bloodshed without any organic character growth or conflict. The decisions Matt, Alejandro, and other characters decide to make feel random and like they were done to move the plot forward rather than something in line with their previous actions.”
“Denis Villeneuve, who directed the acclaimed Oscar-nominated original, hands the reigns to filmmaker Stefano Sollima whose audition – superior Italian mob drama Suburra – was passed with flying colours in 2015. It’s to Sollima’s credit that the material is dissected competently despite the plot’s complexity (it’s about 794 laughs short of being a Coen Brothers film). He keeps the audience continually abreast of the who, what and why while retaining the lingering dread the original maintained throughout with solid assistance from cinematographer Roger Deakins and the late Jóhann Jóhannsson (his portentous three-note motif remains courtesy of Hildur Guðnadóttir).”
“Some narrative threads don’t work, and some eventually lead to dead ends. In fact, the first two acts set up a much bigger story than we ultimately get, with the movie seemingly changing gears at the last second to tell a smaller and more personal tale. However, the bulk of ‘Sicario: Day of the Soldado’s’ ‘A’ plot is a satisfying continuation of the two characters introduced in the previous film, and leaves them in a spot where we want to know what will happen. It’s not that the film necessarily ends on a vague cliffhanger, but the door that it opens in its final minutes stands out as an enticing one that absolutely demands that ‘Sicario 3’ happen.”
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“Sicario: Day of the Soldado” hits theaters on June 29.