‘No Country for Old Men’ was the Best Movie of 2007

No Country for Old Men poster

WRITER’S NOTE: This review was written back in 2007.

Now this is a great movie!

No Country for Old Man” stands alongside some of Joel and Ethan Coen’s best movies including “Fargo” and “Barton Fink.” Some say it is a return to form for the brothers after their last two movies, “Intolerable Cruelty” and “The Ladykillers,” but they can’t be as bad as people say they are. Even the worst Coen brothers’ movies are far more interesting than most American movies made today. The one thing “No Country for Old Men” proves is they never lost their touch to begin with, and who are we to think that they ever did? I mean really!

This movie is based on the novel by Pulitzer Prize winning author Cormac McCarthy, and he has written a lot of great novels over the years like “All the Pretty Horses.” I have not had the opportunity to read any of his books, but my understanding is they deal with a world where the goodness of human nature is a rarity as the atmosphere is overwhelmed by cruelty. His books have also been described as “unfilmable” by many, but I guess no one told the Coen brothers this (would it have made a difference?).

It all starts off with hunter Llewelyn Moss (Josh Brolin) who stumbles upon a Mexican standoff gone bad where rotting corpses of drug runners and dogs are impossible to ignore (think of the ending of “Reservoir Dogs”). There are also a bunch of trucks laying around, and in them Llewelyn finds the only survivor who begs him for some water. But Llewelyn ends up passively avoiding his pleas as he has no water to give. Instead, he finds among the carnage a big stockpile of heroin and $2 million dollars in cash. He doesn’t bother with the drugs, but he takes the cash and stashes it back at his trailer home where he lives with his wife Carla (Kelly MacDonald).

His conscience, however, keeps him from getting any sleep, so he ends up doing what even he openly says may be “the biggest mistake” he could possibly make. He fills up a bottle of water and heads back to the site to give to that Mexican. Instead, he gets ambushed by a faceless gang who take their shots at him as he escapes away. From then on, the movie is a chase to the finish. But this isn’t simply a chase movie, but a movie where the souls of the characters threaten to be every bit as barren as the desert lands in Texas.

“No Country for Old Men” is one of those movies where everything you hear about it is absolutely true. It has great acting, directing, cinematography and a superb screenplay. There isn’t a single wasted moment in it, and it is certainly one of the most quietly intense movies I have seen in some time. I think it is safe to say the Coen brothers have faithfully adapted Cormac McCarthy’s work while adding their own flavor and dark humor to it, and they drive away at one of his main themes in the book; society getting crueler, and of the end of the world as we know it.

In a sea of great performances, the one man who steals the show here is Javier Bardem who portrays Anton Chigurh, a man who is deeply psychotic but not without principles. From start to finish, Bardem gives us one of the scariest villains in cinematic history whose mere presence forces the characters to immediately fear for their safety. Those other characters who fail to do so are either totally naïve or have no idea who they are talking to.

Josh Brolin is having one heck of a great year right now in the movies. He started 2007 off early on as Dr. Block in “Grindhouse,” then we saw him play a very corrupt cop who runs afoul of Denzel Washington in “American Gangster,” and he is probably in another movie right now which I have yet to see. Safe to say, this is the best performance he has given this year as he is perfectly cast as Llewelyn Moss, a hunter who gets in way over his head.

The other performance worth singling out is Tommy Lee Jones’, and he gives one of his very best ever as Sheriff Ed Tom Bell. His character is really the observer of human nature and the decline of it in this story. Jones was pretty much born to play just about any part of a movie adapted from one of McCarthy’s novels. Like the novelist, he clearly understands the worldly feel of Texas and human nature, and this is echoed in the voiceover he gives at movie’s start.

I am not quite sure what to make of the ending. And what is meant by the title “No Country for Old Men” anyway? Is it a metaphor for how the old way of doing things has long since passed the Sheriff Bell by? That the lessons our elders taught us will soon become insignificant? Or is the painful truth that society has no use for men once they qualify for senior citizen discounts? The Coen brothers are not quick to give us answers, but they do give us much to think about as this is a motion picture which will linger with you long after the end credits have concluded.

“No Country for Old Men” is the best movie I have seen in 2007. As I said, there is not a single wasted moment in it.

* * * * out of * * * *

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‘Doubt’ Examines The Crippling Power of Uncertainty

Doubt movie poster

Doubt” follows the goings on at the St. Nicholas Catholic school in the Bronx of New York back in 1964. Sister Aloysius Beauvier (Meryl Streep) becomes concerned Father Flynn (Philip Seymour Hoffman) may have developed an unhealthy relationship with the school’s sole black student, Donald Muller (Joseph Foster). This is brought to her attention when Sister James (Amy Adams) notices Donald acting strangely after he has been in the private company of Father Flynn, and Sister James also mentions she smelled alcohol on Donald’s breath. Sister Aloysius becomes convinced of Father Flynn’s guilt even though she has no real proof, but he denies any wrongdoing on his part. From there, it becomes a battle between Aloysius and Flynn which involves not just the accusations, but the state of the school and its students as well.

The fascinating thing about “Doubt” is how its story is simple in its construction, but the characters and the situations they get caught up in prove to be very complex. As the fight goes on between Aloysius and Flynn, you begin to wonder if the conflict doesn’t involve any specific student as it does the direction things are going as the threat of change often frightens people into defending what they believe to be their domain. Sister Aloysius represents the old guard and of the way things have always been. Father Flynn, on the other hand, represents the change many are quick to resist. When he suggests to Aloysius that they need to be nicer to the students, she takes it as an insult.

To watch Meryl Streep and Philip Seymour Hoffman face off with each other is to watch a master class in acting. God only knows how hard these parts were for them to play. But the fact these two were among the best actors working back in 2008, you come into this movie knowing they are more than up to the challenge. It’s not just the delivery of Shanley’s dialogue they have to work at; it’s also what they show the audience through their eyes. The eyes are the window to the soul, and I’m sure that these two actors have thought their roles out through and through to where they never have to spell anything out to the audience, and it makes their journey all the more enthralling as we can never be absolutely certain of the thing they have and have not done.

Streep has given us an endless number of great performances in which she created characters so memorable which can never be easily erased from our conscious minds once we have seen her onscreen. Sister Aloysius Beauvier is another character she can rack up with her most memorable work, and the character’s introduction is brilliant as we see know from the back of her head who she is as she gets the young children to pay full attention to Father Flynn’s sermon. Without even seeing her face right away, Streep quickly makes an impact as a strong and frightening authority figure to the students and the nuns under her tutelage. Her performance will quickly bring back memories of the awful teachers you were forced to learn under to where you realize the psychological scars are still very raw. She’s the kind of teacher where everything she says is right, and the students are wrong. I hated teachers like that! Hated them!

Hoffman, as always, is brilliant here and matches Streep from one scene to the next. We keep waiting to see if there will be a slip where all will be revealed, but Hoffman keeps his cards close to his chest. Flynn’s explanations for the private meeting between him and Donald are not implausible, but Aloysius remains unconvinced. Hoffman is great at showing how the simple feeling of doubt can easily destroy a person to where guilt and innocence doesn’t matter. Flynn’s fight to prove his innocence threatens to bring out the worst in him, and he continues to sink deeper into a hole he is desperately trying to climb out of.

Along for this morally complex ride is Amy Adams who plays Sister James, and her character is essentially stuck in the middle between these Aloysius and Flynn. Watching Adams here made me wonder if there was another actress who could the same empathy and kindness which she gives off here, and no one quickly comes to mind. Adams shows the love Sister James has for her job as a history teacher ever so perfectly, and she also shows the desperation her character exudes in her search of absolutely certainty. Sister James is the first to suspect Father Flynn is up to no good when she sees him put an undershirt worn by Donald in his locker, but she knows this proves nothing. At times, Sister James seems rather naïve when it comes to how people act around each other, but she proves to be the most morally grounded of the three main characters as she never loses her sense of right and wrong.

There is also a fantastic performance from Viola Davis who plays Mrs. Miller, Donald’s mother. She shares a tense scene with Streep as they discuss their individual suspicions which proves to be one of “Doubt’s” most unforgettable moments. Mrs. Miller likes how Father Flynn has been so nice to her son because she admits her husband beats him severely when he misbehaves. When Sister Aloysius confides her suspicions to Mrs. Miller, it doesn’t change the level of worry for her son’s welfare as it is already extremely high. Instead, she fears more about what Donald’s father will do to him if the allegations against Father Flynn prove to be true. With only ten to twenty minutes of screen time, Viola does a brilliant job of making you feel her character’s heartbreaking dilemma, and of how she has been with left little choice over how to resolve this potentially unhealthy situation she is just now being made aware of. It’s one thing for an actor to show what their character is going through, but it is quite another for them to make you feel what they are experiencing.

With “Doubt,” Shanley brilliantly shows how the state of doubt affects everyone equally. No character comes out of this story the same, and we are left with a deep uncertainty which cannot be easily dismissed while walking out of the theater. Everyone is harmed deeply here, and it binds them as strongly as it tears them apart. You have to feel for those caught in its ugly wake because they end up having to live with something they did not necessarily bring on themselves. It’s a brilliant play which has been made into a great movie filled with outstanding performances, and of this I have no doubt.

* * * * out of * * * *

‘Blade Runner 2049’ is Astonishing, Glorious and Mesmerizing

Blade Runner 2049 movie poster

Many words come to mind when describing “Blade Runner 2049.” Among them are mesmerizing, amazing, glorious, beautiful, and astonishing. I put special emphasis on the word astonishing because it is almost unbelievable to see what director Denis Villeneuve and company got away with here. Not only have they conceived a sequel which does its predecessor, Ridley Scott’s 1982 cult classic “Blade Runner,” proud, but they also got away with making an art house film with a budget of over $150 million and a running time of almost three hours. What were the studio executives thinking? Well, it doesn’t matter as this eagerly awaited sequel proves to be well worth the wait.

Taking place thirty years after the events of the original, the sequel introduces us to a new blade runner played by Ryan Gosling, and he comes to be known by a pair of names for reasons best left unsaid here. After enduring a brutal battle as he attempts to retire rogue replicant Sapper Morton (Dave Bautista), he becomes aware of a long-buried secret which is overdue for a thorough investigation. In the process, he tracks down former blade runner Rick Deckard (Harrison Ford) who has been off the grid for many years as he seeks answers only Deckard can give. What results is a form of evolution no one could have seen coming.

Telling you more about “Blade Runner 2049” will prove to be detrimental to your viewing experience as you should only know so much about its plot before going into the theater. What I can tell you is the future world portrayed is even more beautifully bleak than the one Scott gave us 35 years ago, something I didn’t even think was remotely possible. The colors are vibrant, but everything is still subject to a never-ending rainstorm, the kind we needed in California for the longest time. And in this fictional universe, Pan Am is still a corporate giant even though it ceased operations in the real world back in 1991.

While I was bummed to learn Scott would not be directing this sequel (he serves as executive producer instead), they couldn’t have found a better filmmaker here to fill his shoes as Villeneuve takes on what must have been a truly daunting challenge here. “Blade Runner,” despite being a critical and commercial disappointment, has long since been considered one of the greatest science fiction movies ever made, and it certainly is. Making a sequel to it interested many including myself, and yet it could easily take away from the original as nothing easily compares to what came before. But Villeneuve is the same guy who gave us “Arrival,” another sci-fi masterpiece which invited and deserved comparison with “Close Encounters of the Third Kind,” and this gave me confidence he could bring something special to “Blade Runner 2049.” Indeed, he has made a sequel which will prove to be every bit as memorable as its predecessor as the years go by as he expands on the themes and delivers a cinematic experience which is equally profound.

Furthermore, Villeneuve allows things to go at the same methodical pace Scott went at back in 1982. If you go into “Blade Runner 2049” expecting something along the lines of “Star Wars,” you will be seriously disappointed as the original defied sci-fi conventions with a vengeance. What was unique about “Blade Runner” is how it enthralled audiences with big ideas more than with wall-to-wall action sequences. The same is true with “Blade Runner 2049” as it probes the idea of what it means to be human, and it deals with characters searching for something which doesn’t feel the least bit artificial in a world dominated by technology. For me, the key line of dialogue comes when Lieutenant Joshi (played by Robin Wright) tells Gosling’s blade runner, “We’re all just looking out for something real.” This is certainly the case here, but as we catch up with these characters, their chances of finding anything real seem very small.

By the way, if Roger Deakins does not get this year’s Oscar for Best Cinematography, I will be seriously miffed. For far too long, this man has been the Randy Newman of the cinematography category, and this feels criminal as has given us beautiful and extraordinary images in “Sicario,” “Skyfall,” “No Country for Old Men,” and “The Shawshank Redemption” to where it is not easy to compare his work to others. Deakins, however, really outdoes himself here as he gives each scene in “Blade Runner 2049” a stunning look which shows both the beauty and the emptiness of the world these characters are forced to inhabit. What he has accomplished here is simply extraordinary as it all feels incredibly unique.

Gosling has long since proven to be as good an actor as he is a tremendously sexy one, and he is superb in a role which is very tricky to pull off. Again, I can only say so much about his character as it is too easy to spoil certain aspects of this movie, but once you understand who this blade runner is, it becomes clear as to the kind of balancing act Gosling has to play here. While life in the rainy and futuristic city seems to have burned this blade runner out completely, there are still glimpses of humanity to him which come out in a way which feels spontaneous and never forced. As a result, the “Drive” actor proves to be a genius at playing someone who is no longer certain as to how he should feel about the discoveries he has made.

Harrison Ford doesn’t show up as Deckard until the movie’s third act, but he makes it worth your time to wait for his first appearance. After watching him have tremendous fun playing Han Solo again in “Star Wars: The Force Awakens,” it’s great to see him bring another of his iconic characters back to life. Ford makes Deckard into a burned out shell of a man who is forced to hide not just from those threatening his existence, but also from the things he yearns to connect with most of all, and he illustrates the character’s never ending internal conflict without ever having to spell everything out for the audience.

The rest of the cast is superb as they bring a unique quality to roles which have them acting in both human and inhuman ways. Robin Wright kicked ass earlier this year in “Wonder Woman,” and she does it again here as Gosling’s superior officer who is a no-nonsense Lieutenant and eager to keep a war from being ignited. Ana de Armas, whom you might remember from Eli Roth’s “Knock Knock,” is perfection as Joi, Gosling’s hologram girlfriend who is definitely even better than the real thing as she comes equipped with a humanity which strikes at your emotions. Sylvia Hoeks is riveting as Luv, a replicant who can appear charming at one moment and incredibly lethal in the next, and she makes this character vicious and frightening as she is determined to make discoveries before others do. Jared Leto and Dave Bautista have essentially cameos here, but they make the most of their time onscreen and show the depth they are willing to give to even the smallest of roles.

My only real disappointment with “Blade Runner 2049” is we will never get to hear the music score by Villeneuve’s regular composer, Johann Johannsson. For some odd reason, he was removed from this project and is contractually forbidden from talking about why he was let go. His score to “Sicario” is one of my favorites, and it would have been great to hear what themes he could have brought to this sequel.

Having said that, the score by Hans Zimmer and Benjamin Wallfisch, the latter who recently did the music for “It,” is excellent as it captures the vibe of Vangelis’ score from the original without simply updating it for a new audience. It doesn’t even sound like the typical Hans Zimmer score as his music is usually pretty easy to recognize, although the last few cues do have a bit of “Dunkirk” in it. I feared “Blade Runner 2049” would get a more conventional score than the great one Vangelis composed years ago, but Zimmer and Wallfisch bring something wonderful, beautiful and thrilling to everything we see and listen to here.

The original “Blade Runner” came out in 1982, one of the greatest years for movies and one which many have called the year of the nerd. In addition to “Blade Runner,” we also got “Star Trek II: The Wrath of Khan,” John Carpenter’s “The Thing,” “The Dark Crystal,” “Tron” and “E.T. The Extra Terrestrial” among many others. “Blade Runner” was not a commercial hit and critical reaction to it was sharply divided, but like “The Thing” and “Tron,” its stature has grown over time to where it is now revered as the great motion picture it always was.

“The Thing” and “Tron” managed to generate a prequel and a sequel more than 20 years later, but neither could equal the power of their predecessors. This makes the achievements of “Blade Runner 2049” all the more profound as it equals the original film and digs even deeper into its theme which Scott explored to brilliant effect. What Villeneuve and company have come up with here feels as unique in today’s cinematic landscape as “Blade Runner” did in the 1980’s. I had every reason to lower my expectations on this one as sequels which come out decades later are typically doomed to failure, but this one defies the odds and I am so thankful everything worked out so well. It may not have Rutger Hauer, but very few movies can ever be perfect.

And for God’s sake, give Deakins the Cinematography Oscar! No excuses!

* * * * out of * * * *

‘Prisoners’ is Not Your Average Child Abduction Thriller

Prisoners movie poster

From the trailers, “Prisoners” looked like just another average child abduction movie with a strong cast which would hopefully make it seem slightly above average. I have seen so many movies like this to where they now seem like the same one no matter who is starring or directing. Boy, was I wrong about this one! “Prisoners” is a heavy-duty character driven drama which generates an agonizing amount of tension and never loses any of it throughout its two and a half hour running time. In a time when many movies are in serious need of an editing job, this one manages to make every single minute count.

It’s a snowy day when Keller Dover (Hugh Jackman) takes his family over to his friend Franklin Birch’s (Terrence Howard) house to celebrate Thanksgiving with a big feast. Both men have loving wives, two teenaged children who are unsurprisingly not all that interested in hanging out with their parents, and they have two beautiful six-year old daughters named Anna and Joy who can never seem to sit still for a single moment. But when Anna goes back to her home with Joy to fetch her safety whistle, both of them disappear without a trace and their families begin a desperate search to find them before it is too late.

The only suspect in the case is Alex Jones (Paul Dano), a man with the IQ of a 10-year old, whose RV Anna and Joy were playing around earlier in the day. When the police and Detective Loki (Jake Gyllenhaal) are not able to get any answers from Alex as to where the girls are, they are forced to let him go for lack of evidence. Keller, however, becomes convinced Alex does know where they are at, and he becomes infinitely, and frighteningly, determined to make Alex give him the answer he wants. Suffice to say, some moral boundaries are definitely crossed.

It should be no surprise Hugh Jackman gives a seriously intense performance here as a father obsessed with finding his child as we have gotten used to him playing the Wolverine in all those “X-Men” movies. But as furious as he got in “Logan” this past year, Jackman seems even more frightening here as he loses his moral perspective while desperately searching for answers. Just watch him as he bashes a bathroom sink with a hammer.

Jake Gyllenhaal also gives one of his best performances ever as Detective Loki, a man equally obsessed with getting the girls back even as he struggles with an uneasiness which will not let him be. What I especially like about Gyllenhaal here is how he implies certain things about this character without ever having to spell it out for the audience. Loki is a man with a troubled past who has his own demons to fight, and while we don’t always know what those demons are, this allows Gyllenhaal to add another layer to his character which only increases Loki’s complexity.

Terrence Howard, who gave a terrific performance in “Dead Man Down,” gives another one here as the other desperate father. It’s interesting to see him go from playing an intimidating crime lord to a helpless dad who finds himself in a morally dubious position when he is presented with a way of getting the answers, but he becomes increasingly unnerved at the way Keller is trying to obtain them. Howard is great at showing how helplessly conflicted his character is, and he makes you feel his inescapable pain and confusion as he is forced to go down a path he becomes convinced is the wrong one to go down.

Kudos also goes out to Maria Bello and Viola Davis who play the wives to Jackman and Howard. Bello portrays Grace Dover, and she has an especially difficult to watch scene in which she completely falls apart emotionally as she faces the worst nightmare no parent ever wants to face. As for Davis, she once again proves how powerful she can be in the smallest of roles. It should also be noted how each of these actors is a parent in real life, and I cannot even begin to think of what emotional depths they went to give such authentic portrayals.

Paul Dano continues to astonish in each film he appears in, and his performance as Alex Jones is one of his most enigmatic to date. Dano could have just fallen into the trap of making an Alex a caricature or the clichéd mentally disabled character we have seen too many times, but he is much too good an actor to do that. We can never figure out if Alex is truly helpless or cleverly manipulative, and Dano keeps us guessing as to what the answer is for the majority of the movie.

“Prisoners” was directed by Denis Villeneuve, a Canadian writer and director who won the Genie Award (Canada’s equivalent of the Oscars) for Best Director three times for his films “Maelström,” “Polytechnique” and “Incendies,” the latter which earned an Academy Award nomination for Best Foreign Film. In recent years, he has given us the brilliant “Sicario” and “Arrival,” and it makes sense he is at the helm of the eagerly anticipated “Blade Runner 2049.” Like I said, I have seen many movies involving child abduction, but he succeeds in making this one of the most intense and agonizing ever made. The fact he is able to main such a strong level of suspense and tension for over two hours is very impressive, and “Prisoners” would make for a great, albeit an emotionally exhausting, double feature with Ben Affleck’s “Gone Baby Gone.”

The screenplay by Aaron Guzikowski seems well thought out and has characters who don’t seem like anything the least bit stereotypical. Looking back, this could have been one of those scripts where the writer would come out saying, “Look how clever I am! I kept you guessing, didn’t I?” Guzikowski, however, is not out to make us feel like an idiot and instead gives us a fairly realistic scenario of just how harrowing a kidnapping situation can get.

The filmmakers have also employed the brilliant cinematographer Roger Deakins, who should have gotten the Oscar for “Skyfall,” and he makes the snowy climate these characters inhabit all the more vividly freezing. Even as the setting gets bleaker, Deakins still manages to find a haunting beauty in everything going on.

Child abduction movies can be very difficult to pull off because it is easy to fall into the realm of exploitation. It’s a credit to the filmmakers and actors that “Prisoners” never falls into this trap as it instead focuses on how frayed and unraveled emotions can get when parents have no idea where their children are. This is definitely not a film for new parents or those with small children to watch as I’m sure it will make them seriously uncomfortable. But for those who like their movie going experiences to be infinitely intense, “Prisoners” is definitely worth checking out. It was not at all what I expected it to be, and that’s a good thing.

* * * ½ out of * * * *

Denis Villeneuve’s ‘Sicario’ is a Seriously Intense Motion Picture

Sicario

I think we have all long since come to the conclusion that the war on drugs is, to put it mildly, an utter failure. Instead of ridding the world of illegal substances, this war has allowed the drug trade to exist in a way it never intended to. Furthermore, many fighting this war have become just as bad as the drug czars they are pursuing, and this should not be seen as anything new. And when you cross a drug cartel, they punish you in the most painful way possible and let the rest of the world know it in a horrifyingly unforgettable manner. In short, we will never get rid of illegal drugs if we keep going on the route we have been on for far too long.

There are many movies which have chronicled the pointlessness and shocking brutality of the war on drugs and the unscrupulous politics behind it like Steven Soderbergh’s “Traffic,” “Kill the Messenger” and David Ayer’s “Sabotage” which I liked more than most people did. “Sicario” is the latest film you can add to the list, and it proves to be one of the most riveting and nerve wracking of its kind as we follow an idealistic FBI agent as she descends into the hellish center of this war and learns a number of harsh truths never taught at Quantico.

“Sicario” hits the ground running with a very intense scene which sets up the chief perspective you will see things from. We meet FBI special agent Kate Macer (Emily Blunt) as she rides along with her fellow agents to a drug bust in which they raid a house where a kidnap victim may be at. Things get even more heightened when the agents discover dozens of dead and decaying bodies hidden in the walls, and this is only the beginning of what’s in store for the audience.

This bust leads Kate to be enlisted, voluntarily of course, by an undefined government task force led by Matt (Josh Brolin) which is put together to aid in the drug war escalating at the U.S./Mexican border. But once there, Kate will find her idealistic nature put to the test as she discovers this war has become more personal to some than she was led to believe.

It should be no surprise “Sicario” is a seriously intense piece of filmmaking considering it was directed by Denis Villeneuve who gave us the equally intense “Prisoners” a few years back. He succeeds in putting us right into Kate’s shoes as we follow her every step of the way as she enters a town as foreign to her as it is to us. We discover things at the same time she does like a couple of naked dead bodies hung from a nearby bridge, a chilling warning of what happens to those who interfere with the drug trade. We also share her sense of panic and terror when a character next to her says, “Keep an eye out for the state police. They’re not always the good guys.”

The movie also makes us share in Kate’s utter frustration as Matt and his troops keep the nature of their overall mission a secret to her and her partner, Reggie (Daniel Kaluuya). But once she is sucked into this increasingly insane mission, she finds it impossible to tear herself away from it even as she questions its legality.

Villeneuve is a master at creating a slow burn intensity which keeps escalating for what seems like an eternity before the situation finally explodes. The picture he paints of the drug war is an a very bleak one, and I imagine this movie won’t do much for the Mexican tourist trade. He is also aided tremendously by master cinematographer Roger Deakins who captures the bleakness of a town long since ravaged by the drug war in a way both horrifying and strangely beautiful, and by composer Jóhann Jóhannsson whose film score lights the fuse to “Sicario’s” intense flame and keeps it burning to where, once you think it has hit its peak, it burns even brighter.

Emily Blunt proved to the world just how badass she can be in “Edge of Tomorrow,” and she is clearly in her element here as an FBI agent who has yet to learn how the drug war is really fought. Seriously, this was one of the best performances by an actress in a 2015 movie. Blunt fully inhabits her character to where you can never spot a faked emotion on her face. It’s a fearless performance which must have emotionally draining for her to pull off, and I love how she never strives for an Oscar moment. Blunt just is Kate Mercer, and you want to follow her into the depths of hell even if you know you won’t like what’s about to be unveiled.

Josh Brolin is perfectly cast as Matt Graver, a government agent who clearly knows more than he lets on. We can see this is a character who has seen a lot of bad stuff go down and has long since become numbed to the effects of an endless drug war which shows no signs of stopping. Brolin doesn’t necessarily have one of those clean-scrubbed faces as his is rough around the edges, and Hollywood doesn’t seem to value this kind of face enough. Some actors benefit from having history written all over them, and Brolin is one of those actors as he makes you believe he has long since been to hell and back.

But make no mistake; the best performance in “Sicario” belongs to Benicio Del Toro who portrays Alejandro, a mysterious figure whose motives and intentions are eventually revealed towards the movie’s conclusion. Del Toro is great at hinting at the horrors his character has faced as Alejandro looks to be suffering a serious case of PTSD, and he makes this character into a dangerously unpredictable one whose next move is always hard to guess. His role in this movie reminds us of what a brilliant actor he can be, not that we ever forgot, and he succeeds in increasing the already high-tension level this movie already has.

“Sicario” is a hard-edged and remarkably intense thriller which grabs you right from the start and holds you in its grasp all the way to the end. Like any great movie, it will shake you up and stay with you long after you have left the theater. Some movies are made to be watched, but “Sicario” was made to be experienced. It’s not the kind of experience audiences are always pinning for, but those willing to travel down its dark path will find much to admire.

* * * * out of * * * *