Violent, tense, and above all absorbing, ‘Sicario’ finds French-Canadian director Dennis Villeneuve at the height of his prowess. Led by an emotional and honest performance from Emily Blunt and especially magnetic, ruthless work from Benicio Del Toro; this action juggernaut is a must-see, even if its unflinching visuals may be difficult for some to swallow.
Relentless from start to finish, a somber, looming tone cloaks Dennis Villeneuve’s thriller in risk and secrecy. Aided by Roger Deakins ghostly, majestic cinematography and Jóhann Jóhannsson’s penetrating, ominous, intimidating score. ‘Sicario’ is an exhausting, inescapable experience.
Supported impeccably by Josh Brolin and a slew of precise tactical performances by the film’s gunslingers. ‘Sicario’ might just be the most effective, entrancing piece of war cinema since Kathryn Bigelow’s ‘Zero Dark Thirty.’
Taylor Sheridan’s horrifying, entertaining, narratively-complex story and devastating, memorable dialogue effortlessly elevates the intensity and execution in Blunt, Del Toro, and Brolin’s performances. Additionally allowing Villeneuve and Deakins to truly explore and excel behind the camera.
‘Sicario’ has Roger Deakins in award-season form and features some of the master cinematographer’s finest work. Most notably, a night-vision sequence that gets the heart racing and palms sweating.
The delicacy and boldness in Blunt’s performance cannot be understated. Imperative and determined, Blunt’s Macer mimics the viewer’s terrified, meddlesome mindset, expertly holding their attention as if you sit fastened in the interrogation chair.
Outshining his co-stars’ already blinding brilliance, Benicio Del Toro’s ferocious, smothering, calculated anti-hero is a performance to contemplate and savour. Exercising the actor’s formidable charisma, ‘Sicario’ catapults Del Toro back into the working elite.
Uncompromising, thought-provoking, and brutally straightforward, ‘Sicario’ is unmissable.
Sicario: 9.5 out of 10.
Dennis Villeneuve’s latest, “Enemy,” is seemingly shrouded in secrecy. Amongst the remnants of Villeneuve’s last film, high-profile crime-thriller “Prisoners,” this mysterious piece of suspenseful anti-existentialism took form and emerged from the shadows. Blending staggeringly beautiful camerawork, the lovely Toronto skyline muddled in a glowing haze, and marvellously haunting performances from the entire cast, “Enemy” quite handily manages to stimulate, stump, and shock. With Hitchcock-like suspense, an atmosphere akin to classic David Lynch, and a skin-crawling metamorphosis that would make Kafka proud. “Enemy” stands not only as a sufficiently fulfilling thriller, but a nerve-shredding, confident, worthy art-house piece in the ranks of its inspirations.
A flick that’s as much an exercise in problem solving as it is a piece of art, a lot like a puzzle or a mathematical game of deciphering a pattern or code. “Enemy” is about as complex as they come, never ceasing to challenge the viewer with a barrage of variables, twists and turns. It’s an equation comprised of shapeless pieces that intertwine to form a web on the grandest scale.
Based on “The Double” by Jose Saramago, “Enemy” was adapted for the screen by Javier Gullon and directed by the aforementioned Dennis Villeneuve. Shot on location in Toronto, this modern-day fable stars Jake Gyllenhaal in a dual role, Melanie Laurent, and Sarah Gadon.
Adam (Gyllenhaal) is a history professor who is slowly becoming more and more disinterested in the world and people surrounding him. Even his girlfriend Mary (Laurent) can’t seem to hold his attention outside of the bedroom in his gloomy, run-down apartment. On a recommendation, Adam decides to pick up a local film at a nearby video store, perhaps a last attempt at salvaging his humanity. Later that night, while Mary sleeps alone in the next room, Adam has reluctantly become entranced by the low-budget flick. Then, while lost in a deep sleep, Adam has a dream heavily influenced by the movie, so much so that Adam begins to see himself in the picture. Awakening frightened, he revisits the film to find that it wasn’t himself he was seeing in his dream, but an extra that resembles himself exactly. Stunned, Adam becomes obsessed with his look-alike and eventually searches out his identical being.
Anthony (Gyllenhaal) is an aspiring actor who is expecting his first child with his lovely wife Helen (Gadon). The two are looking for a fresh start after some turbulence early on in their relationship. Having recently moved to a respectable apartment, one could conclude that this new place of residence is a symbol of their relationship’s rejuvenation. One day, Helen receives a bizarre phone call from someone who sounds exactly like her husband Anthony. As days pass, the phone calls persist, which Anthony now handles in private. Letting speculation get the best of her, Helen demands Anthony reveal the nature of the calls. Anthony informs his wife that it is nothing but a bizarre man claiming to be a big fan of his films. Fully aware of the trust issues his marriage has sustained, Anthony decides to keep the true nature of the calls from his wife, that Adam is on the other end, clamouring to be Anthony’s doppelgänger.
I know it may appear as if I’ve somewhat spoiled the film with the previous summarization, but I assure you, the information I’ve provided you with is merely the premise. I’ve barely begun to scratch the surface of “Enemy” and that’s the way it’ll have to stay in order for you, the reader, to thoroughly experience and discover its depths. That being said, I can tell you that what follows will undoubtedly leave a fair amount of viewers on the opposite side of the fence. “Enemy” is a complex, intricate beast that’ll leave you begging for a second viewing. It’ll keep you up at night, reading, thinking about every aspect of its veiled misdirection, dialogue, and symbolism. You won’t be able to view “Enemy” and then simply sit it on a shelf, it requires ambitious follow-up.
While I can’t reveal “Enemy’s” secrets, I can describe to you Dennis Villeneuve’s mastery is on display throughout this film. However, if I’m to be honest, this is the first film of Villeneuve’s I’ve seen. That being said, after viewing “Enemy,” I can assure you his catalogue is on my radar.
Now, what I found most impressive is Villeneuve’s ability to shift seamlessly from the large-scale stuff down to the minuscule. Through his lens, we span across a luminous smog and an achromatic pallet that has Toronto looking menacing and infinite. Then, a few shots down the road, we’re locked, engulfed in a dark and dreary apartment, watching two men and their identities crumble under what defines them, or lack there of. Villeneuve somehow manages to create this rapidly rising claustrophobia through intimate settings and predicaments, like travelling on a streetcar or partaking in compassionate sex. A vulnerable helplessness, inescapability that gives us a distinct vantage point to our own importance and insignificance that is truly remarkable. Without question some of the finest camerawork and direction I’ve ever seen.
It’s always a visual treat for viewers when an actor tackles multiple roles in a film, and quite a challenge for the one who has undertaken it. Still, I feel most filmmakers and actors haven’t fully capitalized on the double premise…until now.
On one hand, sitting on a motorcycle sporting a devilishly handsome and intimidating beard while wearing a black leather jacket, we have Jake Gyllenhaal’s Anthony. A cold, pretentious, opportunistic predator bordering narcissistic. Conversely, lounging around his crappy apartment, unkempt, grading papers, and forcing himself on his girlfriend, we have Gyllenhaal’s Adam. A pessimist and reluctant narcissist, who’s soul just might still be salvageable. Two vastly different characters comprised of a single man’s brilliance. Gyllenhaal, who’s wowed us in the past with “Donnie Darko” and “Source Code,” gives a career defining performance…twice. Even if you find yourself flabbergasted, obsessed, or just plain infuriated by “Enemy,” there’s no denying Gyllenhaal’s triumph.
The characters of Mary and Helen are a level of bizarre all on their own, mirroring one another, although not to the same extent of Adam and Anthony. Melanie Laurent (Mary), arguably portraying the sanest character in the film, does what she can with her limited dialogue and screen time. Had Mary been more crucial to the story instead of merely being an oblivious pawn, Laurent would have been allowed to stun as we should expect. Nonetheless, Laurent is as radiant and invested as always. Sarah Gadon (Helen) has drawn possibly the most intriguing character in the film, which I cannot explain due to spoilers. Regardless, this gorgeous rising star continues to improve and hone her craft while building a very respectable repertoire. Immaculate performances by the entire ensemble, through and through.
Featuring a transfixing musical score, stunning visuals, immensely impressive performances, and dread that reaches its pinnacle at the terrifying ending. “Enemy” is a taut, entertaining, slow-burning thriller that we’ll be discussing and revisiting for a good, long while.
Enemy: 9 out of 10.