In the dark crime thriller Sicario, Emily Blunt plays a fierce and skilled FBI SWAT team leader. She’s battling Mexican narcos in Phoenix when her superiors give her the chance to “volunteer” for a mysterious anti-narco detachment with a cheerfully amoral leader (Josh Brolin). It’s unclear precisely from where, in or out of the US government, this group operates, and it includes an even more shadowy figure (Benicio Del Toro). She’s seen a lot of bad things, but, almost immediately, she is shocked at what her new team is doing.
Sicario’s premise is that the only way to make a difference in the Drug War is to shake up drug suppliers by decapitating the major drug gangs – by any means necessary. The good guys are fighting a Dirty War themselves. Del Toro plays one of the most hardass movie assassins in recent cinema.
Sicario is directed by Denis Villeneuve, who also directedIncendies(my #1 movie of 2011), Enemy and Prisoners. He has a gift for the plot-driven thriller. While taut;y paced, the overall affect of Sicario is more brooding than frenetic, consumed by the inevitability of violence and death.
Sicario looks and sounds better than it is, having been photographed by Roger Deakins (12 Oscar nominations). The desert borderland looks ominous as well as desolate. And there’s a night vision scene that really pops. The music by Jóhann Jóhannsson is unusually effective in enhancing the intense, dark and volatile mood.
I haven’t been thinking about Sicario afterwards, so it isn’t a great movie, but it’s definitively a well-made and effective crime drama.
In the psychological thriller Enemy, a guy finds out that he has an exact physical double – down to their voices and the scars on their bellies. He can’t resist looking up and meeting his twin, which unleashes some unanticipated consequences.
One guy is a tweedy college professor, kind and introspective. His doppelganger is an actor who doesn’t filter his own venal self-interest. Essentially, the difference between these two is that one guy has a conscience and the other guy doesn’t. They are both played by Jake Gyllenhaal.
The physical similarities even confound their partners (Sarah Gadon and Melanie Laurent). Gadon’s performance is especially compelling in a scene when she first meets an amiable guy who doesn’t know her, but physically seems to be her husband. Yeesh.
The key to Enemy’s surpassing the gimmick of double casting is that Gyllenhaal’s performance is so brilliant. The difference between the two characters is so subtle.
You always know which guy you’re watching, but, other than wardrobe, it’s often hard to figure out how we can tell – it’s just in Gyllenhaal’s carriage, the occasional gesture and the hint of rapaciousness in the one character’s eyes.
Enemy is not completely literal and realistic. Be prepared for some large and startling creatures that you will not expect.
Director Denis Villenueve knows how to deliver suspense and thrills, as he did in my top movie of 2011, Incendies, and in last year’s underrated thriller Prisoners, (also with Gyllenhaal). Enemy isn’t as good as those films, but it’s an entertaining and mildly thought-provoking thriller.
In the pulsating thriller Prisoners, two girls go missing, and one of their dads (Hugh Jackman) goes vigilante as the lead detective (Jake Gyllenhaal) struggles to solve the case. Both men are driven and desperate, and they clash as they each race against the clock to find the girls, resulting in unrelenting tension for 2-and-a-half hours.
The tension comes from standard suspense devices (characters peering into basements and entering boarded-up rooms and dark hallways, prowlers slipping though a sleeping household, etc.), but there isn’t a hokey moment in Prisoners. That’s a tribute to director Denis Villenueve, who directed Incendies (my top movie of 2011). Plus, an intricately plotted story from Aaron Guzikowski adds a dimension to Prisoners and elevates it from a conventional thriller. As Gyllenhaal’s cop proceeds through the whodunit, he encounters what we assume are dead-end leads and red herrings. But everything – and I mean EVERYTHING – ties together at the end. I sure didn’t see it coming.
The one aspect of Prisoners that didn’t work for me is that Jackman is dialed up all the way from the get go, and there’s little if any modulation in his performance. I guess that may be the point of the character – he’s a tightly wound guy BEFORE his daughter appears to be abducted – and then he goes full-out maniac for over two hours.
Gyllenhaal is solid in the other lead role. Terrence Howard is superb as the other dad, a guy who wants his daughter back just as much, but is more passive, rational and empathetic (and consequently more interesting to me). Viola Davis, Maria Bello and Melissa Leo turn in their expected fine performances. And Paul Dano (perhaps his generation’s Christopher Walken or James Spader) is excellent in another of his weirdo roles.
Prisoners is available on DVD from Netflix and Redbox and streaming from Amazon, iTunes, Vudu, YouTube, Google Play and Xbox video.
In the pulsating thriller Prisoners, two girls go missing, and one of their dads (Hugh Jackman) goes vigilante as the lead detective (Jake Gyllenhaal) struggles to solve the case. Both men are driven and desperate, and they clash as they each race against the clock to find the girls, resulting in unrelenting tension for 2-and-a-half hours.
The tension comes from standard suspense devices (characters peering into basements and entering boarded-up rooms and dark hallways, prowlers slipping though a sleeping household, etc.), but there isn’t a hokey moment in Prisoners. That’s a tribute to director Denis Villenueve, who directed Incendies (my top movie of 2011). Plus, an intricately plotted story from Aaron Guzikowski adds a dimension to Prisoners and elevates it from a conventional thriller. As Gyllenhaal’s cop proceeds through the whodunit, he encounters what we assume are dead-end leads and red herrings. But everything – and I mean EVERYTHING – ties together at the end. I sure didn’t see it coming.
The one aspect of Prisoners that didn’t work for me is that Jackman is dialed up all the way from the get go, and there’s little if any modulation in his performance. I guess that may be the point of the character – he’s a tightly wound guy BEFORE his daughter appears to be abducted – and then he goes full-out maniac for over two hours.
Gyllenhaal is solid in the other lead role. Terrence Howard is superb as the other dad, a guy who wants his daughter back just as much, but is more passive, rational and empathetic (and consequently more interesting to me). Viola Davis, Maria Bello and Melissa Leo turn in their expected fine performances. And Paul Dano (perhaps his generation’s Christopher Walken or James Spader) is excellent in another of his weirdo roles.
One of the most rewarding aspects of watching movies is seeing the emergence of new talent. Here are some pleasant surprises from the past year.
1. Denis Villenueve: Because Incendies is anything but stagey, you can’t tell that this little known French-Canadian director adapted the screenplay from a play. In fact, he created the most gripping film of the year.
2. Jessica Chastain: She’s on everybody’s “breakthrough” list for a damn good reason. First, she delivered a fine performance as an enabling 1950s mom in the most coherent part of The Tree of Life. She followed that with a riveting performance as a 1960s Mossad agent (the younger version of Helen Mirren’s character) in the thriller The Debt. In Take Shelter, she plays a well-grounded housewife who must deal with a mentally disintegrating husband. She won critical praise for the trashy but aspiring housewife in a film I haven’t seen – The Help. She’s a tough cop in The Texas Killing Fields. And then she’s in Ralph Fiennes’ adaptation of Shakespeare’s Coriolanus.
Six movies in six months – that’s quite a way to start a career. And she’s at the top of her game in all of them, playing soft and tough, brittle and sexy, action and romance.
3. Nicholas Winding Refn: With apologies to Ryan Gosling, Refn is the real star of the vivid and compelling Drive. He has a great eye and a great sense of pacing, and could produce a masterpiece with the right material.
4. Michel Hazanavicius: He came out of nowhere to strike gold with The Artist. Who would think to make a silent film today? Everyone will want to see what he can come up with next.
5. Shailene Woodley: Her performance is absolutely essential to the success of The Descendants. It’s not just that she perfectly plays a bratty teenager, but that we can see that some of her brattiness is hormonal and some of it is entirely voluntary and manipulative. Woodley had to convincingly play a character who is at times self-centered and shallow, but who can rally and reach within herself to serve as the family glue and support her dad and little sister.
6. Ben Ripley: The key to Source Code is a breakthrough screenplay by Ben Ripley. In a year with at least some smart action films, Ripley’s is the smartest. He came up with the scifi premise that supersoldier Jake Gyllenhaal can inhabit the brain of a terrorism victim for the same 8 minutes – over and over again. Each time, he has 8 minutes to seek more clues. Can he build the clues into a solution and prevent the terrorist atrocity? Ripley had us on the edge of our seats.
7. Ryan Gosling: He has already established himself as one of our best actors (Half Nelson, All Good Things, Blue Valentine), so why is he on this list? Because this year he has broken out of quirky roles in indies and has carried more mainstream films. He proved that he can play an action star (Drive) and also be the funniest guy in a Steve Carell comedy (Stupid Crazy Love). And he proved that he can carry a George Clooney movie as the male lead holding his own with Philip Seymour Hoffman and Paul Giamatti (The Ides of March). He could be looking at a Clooney/Hanks/Nicholson career.
