The “Sicario” series, directed by Denis Villeneuve (2015) and Stefano Sollima (2018), is a cinematic exploration of the war on drugs along the U.S.-Mexico border. The films depict moral ambiguity, complex geopolitics, and the human cost of this conflict. The first movie, Sicario, introduced audiences to the bleak world of drug cartels, covert operations, and the blurred lines of justice. Its sequel, Sicario: Day of the Soldado, expanded the narrative and intensified the stakes.
The question of which Sicario movie is better is a topic of debate. Both films share similarities but also diverge in tone, scope, and theme. This article will provide a detailed comparison, looking at key aspects of the two movies, such as direction, storytelling, character development, performances, and the broader themes of each film.
Overview of the Sicario Movies
Sicario (2015)
The first Sicario was directed by Denis Villeneuve, known for his distinct visual style and ability to weave tension into every frame. It was released in 2015 and quickly became a critically acclaimed thriller. The movie follows FBI agent Kate Macer (Emily Blunt), who is recruited by a mysterious government task force to bring down a powerful drug cartel. Alongside her are CIA operative Matt Graver (Josh Brolin) and Alejandro (Benicio del Toro), a shadowy figure with a personal vendetta against the cartel.
From the outset, Sicario is a masterclass in suspense and atmosphere. Villeneuve’s direction, combined with Roger Deakins’ cinematography, presents a gritty, grim, and stark portrayal of the drug war. The tension throughout the film is palpable, aided by Jóhann Jóhannsson’s haunting score. Sicario is not just an action film but a deep dive into the ethical quandaries of law enforcement and justice, questioning the morality of those who fight for it.
Sicario: Day of the Soldado (2018)
The sequel, Sicario: Day of the Soldado, directed by Stefano Sollima, was released in 2018. Unlike its predecessor, it doesn’t feature Kate Macer, focusing instead on Matt Graver and Alejandro. This time, the narrative shifts from the war on drugs to human trafficking and terrorism, with cartels allegedly aiding terrorists in crossing the U.S. border. The film explores the escalation of violence, presenting a world where moral lines are even more blurred than before.
Day of the Soldado expands on the themes of lawlessness, but with more explosive action and a broader scope. It explores deeper layers of the power struggle between nations, cartels, and individuals, while diving further into Alejandro’s backstory. While the sequel retains some of the tone and style of the original, it is undeniably a different kind of movie.
Direction: Villeneuve vs. Sollima
Denis Villeneuve’s Vision
Denis Villeneuve is known for his ability to craft slow-burn narratives with high stakes and intricate emotional layers. His direction in Sicario is controlled and methodical. Every scene serves a purpose, and the pacing is deliberate, giving the audience time to digest the moral complexities of the characters’ actions. Villeneuve allows the tension to build steadily, often lingering on moments of silence, which amplifies the unease.
Villeneuve’s Sicario is grounded in realism. The film is immersive, placing the viewer directly into the gritty, desolate world of the U.S.-Mexico border. The desert landscapes, as captured by Roger Deakins, are vast yet suffocating, symbolizing the hopelessness of the situation. Villeneuve’s approach is more psychological, focusing on the characters’ internal conflicts as much as the external violence. His use of practical effects and minimal CGI also adds to the grounded nature of the film.
Stefano Sollima’s Approach
Stefano Sollima, known for his work on Gomorrah, brings a different sensibility to Day of the Soldado. His direction is more action-oriented and less introspective. While Villeneuve focused on building tension through atmosphere and character, Sollima opts for a faster-paced, more explosive narrative. Day of the Soldado features more shootouts, chase sequences, and large-scale operations than its predecessor.
However, Sollima does retain some of the bleakness and moral ambiguity that defined the first film. His style is raw and unflinching, showing the brutality of the cartel wars without romanticizing violence. While Villeneuve’s approach was more art-house, Sollima’s direction leans into the action-thriller genre. This difference in style makes the sequel feel distinct, even though it follows the same world established in Sicario.
Storytelling and Themes
The Story in Sicario
Sicario is a story about the murky world of law enforcement in the war on drugs. At its core, it is a character study of Kate Macer, a woman who starts the movie with a clear sense of right and wrong but becomes increasingly disillusioned as she realizes that the people she’s working with do not share her black-and-white morality.
The film’s structure is tight, with a focused narrative that rarely strays from Kate’s perspective. The story is both intimate and expansive, as it weaves personal stakes with global consequences. The exploration of corruption within government agencies, the ethical dilemmas faced by law enforcement, and the psychological toll of violence are central themes.
Villeneuve presents a world where justice is elusive, and the lines between good and evil are blurred. Characters like Alejandro embody this ambiguity, as he works outside the law to achieve his own form of justice. Kate, in contrast, represents the audience’s moral compass, but by the end of the film, even she is left questioning what is right.
The Story in Day of the Soldado
Day of the Soldado shifts its focus from drug cartels to human trafficking and terrorism. The plot revolves around a government-sanctioned mission to pit cartels against each other by kidnapping the daughter of a cartel kingpin. The film delves deeper into the world of covert operations, showcasing the lengths to which governments will go to maintain control.
The sequel broadens the scope of the first movie, exploring not just the drug trade but the global power dynamics at play. It also sheds more light on Alejandro’s backstory, giving the audience a deeper understanding of his motivations. Unlike Kate Macer, the central characters in Day of the Soldado are already morally compromised. Graver and Alejandro operate in a world where there are no clear rules, and they have long since abandoned any illusions of moral righteousness.
The film’s themes are even darker than those of the original. It presents a world where violence begets violence, and the lines between victim and villain are increasingly blurred. While the first film asked whether the ends justify the means, the sequel suggests that the means are all that matter.
See also: Is Sicario a True Story? [Revealed]
Character Development
Kate Macer in Sicario
Emily Blunt’s portrayal of Kate Macer is one of the standout performances in Sicario. Kate begins the film as a determined FBI agent who believes in the rule of law. As the story progresses, she becomes increasingly disillusioned by the actions of the task force she has joined. By the film’s end, she is a broken character, forced to confront the fact that justice, as she understands it, may not exist in this world.
Kate serves as the audience’s entry point into the morally gray world of Sicario. Through her eyes, we experience the horror of the drug war and the ethical compromises made by those who fight it. Her arc is one of disillusionment, and her transformation from a principled agent to a haunted witness is one of the film’s most compelling elements.
Alejandro and Matt Graver in Day of the Soldado
Without Kate Macer, Day of the Soldado shifts its focus to Matt Graver and Alejandro. Josh Brolin’s Graver is a seasoned operative who has long abandoned any moral compass. He is pragmatic and ruthless, willing to do whatever it takes to achieve his goals. His character remains consistent with his portrayal in the first film, though he becomes more central to the narrative in the sequel.
Benicio del Toro’s Alejandro is the most complex character in both films. In Sicario, he is a mysterious figure with a tragic backstory, driven by revenge against the cartel that killed his family. In Day of the Soldado, his motivations are further explored, and he is given more depth. Alejandro’s relationship with the kidnapped girl, Isabel (played by Isabela Moner), adds a new layer to his character, showing a softer, more paternal side.
Both characters are morally ambiguous, operating in a world where the ends justify the means. However, Alejandro’s arc in the sequel is more personal, as he wrestles with his own code of ethics and his desire for revenge. This makes him a more sympathetic figure, even as he continues to commit brutal acts of violence.
Cinematography and Atmosphere
Roger Deakins’ Cinematography in Sicario
One of the most striking aspects of Sicario is Roger Deakins’ cinematography. The film’s visual style is stark and haunting, with wide shots of the desolate desert landscape that emphasize the isolation and hopelessness of the characters. The use of light and shadow is masterful, creating a sense of foreboding and tension that permeates the entire film.
Deakins’ work elevates Sicario beyond a typical action-thriller. The way he frames the border as a no-man’s-land, where law and order are meaningless, adds to the film’s atmosphere of moral ambiguity. The iconic sequence where the task force crosses the border into Mexico is a perfect example of how Deakins uses visuals to build tension. The overhead shots of the convoy moving through the desert, accompanied by Jóhannsson’s pulsating score, create a sense of impending doom that is unforgettable.
Dariusz Wolski’s Cinematography in Day of the Soldado
In Day of the Soldado, cinematographer Dariusz Wolski takes over from Deakins. While the sequel maintains some of the visual style of the first film, Wolski’s approach is more action-oriented. The shots are less focused on atmosphere and more on the immediacy of the action. There is still a sense of desolation in the landscapes, but the visuals are more straightforward, emphasizing the brutality of the conflict rather than the psychological tension.
Wolski’s cinematography is effective in capturing the chaos and violence of the film’s set pieces, but it lacks the artistry of Deakins’ work in Sicario. The sequel’s visuals are more conventional, relying on handheld camera work and faster editing to convey a sense of urgency. While this approach suits the more action-heavy tone of the sequel, it doesn’t have the same impact as the meticulous framing and composition of the original.
Sound and Score
Jóhann Jóhannsson’s Score in Sicario
The late Jóhann Jóhannsson’s score for Sicario is one of the film’s defining elements. His use of deep, rumbling tones and minimalist instrumentation creates a sense of dread that lingers throughout the movie. The score is almost hypnotic, pulling the audience into the bleak world of the film. It is not a traditional action-movie score; instead, it is more atmospheric, adding to the tension rather than driving the action.
The score is most effective in key moments, such as the border crossing sequence, where the music builds to a crescendo, heightening the tension without overwhelming the scene. Jóhannsson’s work in Sicario is a perfect example of how a score can elevate a film, adding layers of emotion and atmosphere that deepen the audience’s experience.
Hildur Guðnadóttir’s Score in Day of the Soldado
In Day of the Soldado, Hildur Guðnadóttir takes over scoring duties. While her work is effective, it doesn’t reach the same heights as Jóhannsson’s score in the first film. Guðnadóttir’s music is more traditional for an action-thriller, with pounding drums and intense strings that underscore the film’s more explosive moments. While the score complements the action sequences well, it lacks the haunting, atmospheric quality of Jóhannsson’s work.
However, there are moments in the sequel where Guðnadóttir’s score shines, particularly in the quieter, more introspective scenes. Her use of subtle, droning tones in these moments helps to maintain some of the tension and unease that defined the first film. But overall, the score in Day of the Soldado feels more conventional and less integral to the film’s atmosphere.
Conclusion
Deciding which Sicario movie is better ultimately depends on what you value in a film. If you prefer a slow-burn, character-driven thriller with a focus on moral ambiguity and atmosphere, the original Sicario is likely to resonate more. Denis Villeneuve’s meticulous direction, Roger Deakins’ stunning cinematography, and Jóhann Jóhannsson’s haunting score combine to create a film that is as much about the psychological toll of violence as it is about the physical conflict.
On the other hand, if you are drawn to more action-oriented films with a broader scope, Sicario: Day of the Soldado offers a gripping, explosive narrative that expands on the themes of the first film. Stefano Sollima’s direction brings a new energy to the series, and Benicio del Toro’s expanded role adds emotional depth to the story. While the sequel may not have the same level of artistry as the original, it is a compelling and intense follow-up that stands on its own merits.
In the end, both films have their strengths and weaknesses. Sicario is a more artful, introspective film, while Day of the Soldado is a more straightforward action-thriller. Depending on your preferences, either film could be considered the better of the two. Regardless, the Sicario series as a whole offers a powerful and unflinching look at the human cost of the war on drugs, making both films essential viewing for fans of the genre.
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