Last week on Plot and Theme we had an entire week devoted to the feature films of Denis Villeneuve, and now we get a nice cherry on top: Sicario. Villeneuve’s seventh feature film stars Emily Blunt, Josh Brolin, and Benicio del Toro, and tells the story of a FBI SWAT agent Kate Macer (Blunt) who is whisked away on a special task force dedicated to hunting down the head of a Mexican drug cartel. The film is comfortable exploring gray areas and dwelling in the nooks and crannies of the legal justice system, but ultimately cannot find any effective answers.
Tag: Crime
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Denis Villeneuve week nears its end with his only true American film, and the largest budget he’s had to work with to date: the kidnapping mystery/thriller Prisoners. Of all of Villeneuve’s films, this may be the most uneasy, the most challenging to watch, and the one film that is truly unafraid of exploring the depths that humanity can reach at the intersection of desperation and good intention. Its subject matter is particularly challenging for parents, as it primarily deals with the disappearance of a pair of young girls.
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The threat of physical violence is omnipresent in Scott Cooper’s muted crime drama, Black Mass. The narrative focuses on the Faustian bargain between FBI agent John Connolly and his childhood friend and mob boss James “Whitey” Bulger. As both men climb the ranks of their respective worlds, Connolly’s craft is subterfuge and deception; Bulger’s is intimidation and brute force. Though the card house tumbles eventually, neither the fall nor the resolution are the crux of this story. We may have come for the crime drama, but Cooper’s film strength is in the contemplation of Connolly’s misplaced loyalty towards Bulger, which the gangster wantonly exploits.
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If you’ll recall, a couple of weeks ago The Martian was moved up over two months for an October 2nd release. There, it will compete with the Robert Zemekis film The Walk and Brian Helgeland’s Legend, starring Tom Hardy (twice). And, while we’ve had a couple of different looks at The Walk (which I always want to call “The Wire” at first – I wonder if that will ever stop), we only got our first full look at Legend late last week with the first official US trailer, and it looks like October 2nd is shaping up to be a spectacular weekend for film fans. Have a viddy:
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We got the first trailer for Denis Villenueve’s Sicario earlier today, and it was a real treat to finally see some scenes from this Cannes audience favorite. I case you’ve forgotten, this is the crime thriller about a FBI agent, played by Emily Blunt, who joins a task force to investigate cartel activity in Mexico. It also starts Josh Brolin and Benecio Del Toro as members of this team, and like all of Villeneuve’s films, there is more than meets the eye bubbling under its surface synopsis. It looks fantastic.
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When was the last time you were legitimately excited about a Johnny Depp movie? Be honest. Maybe you thought he and Tim Burton would pay appropriate homage to Alice in Wonderland (and were wrong). Or, before that, perhaps you thought a more faithful take on Roald Dahl’s Charlie and the Chocolate Factory was warranted (also wrong). Mortdecai? The Lone Ranger? Dark Shadows? Holy shit, Depp probably hasn’t done anything worthwhile in this century, with the possible exception of the first Pirates of the Caribbean flick. So, it is a relief to see him put down the makeup and funny hats and return to a serious role with Black Mass, which released its first full-length trailer recently.
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The best action movies succeed by crafting sequences with jaw-dropping visuals and physical stunts, hopefully with characters that we care about and in a way that advances the story. More and more often, action movies in this century lean hard on the crutch of CGI to dazzle us, and usually they are happy to dispense with the story and characters in favor of large explosions, cartoonish monsters, and entire sequences “filmed” in a computer program. Used well, CGI is a powerful tool which can instill a film with detail, and acts to enhance that which appears on the screen – but we seldom see such restraint (the revelatory Mad Max: Fury Road is the most recent exception). In light of this trend, it is an absolute and almost visceral pleasure to experience The Raid from director Gareth Evans. The Raid (aka The Raid: Redemption) is a hybrid between your standard crime film and a martial arts escapade with a story semi-reminiscent of Dredd: an elite police team stages a raid on an apartment building controlled by a crime lord, but things go horribly wrong about six floors up, and the team is forced to fight their way out and struggle for survival as the crime lord’s henchmen descend upon them,
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