Tuesday, July 17, 2018

The Current Cinema 18.3

Sicario: Day of the Soldado

The most disappointing aspect of Stefano Sollimo's sequel to Denis Villeneuve's critically acclaimed 2016 political thriller is its feeble attempt to carbon copy what made that film so great. The swagger.... the machismo... the actions of people drawing invisible lines of political aggression are all intact but what lacks in "Sicario: Day of the Soldado" is a firm center to hold onto. In the original, Emily Blunt's character served as a naive audience surrogate. Out of that naivety was borne a strong woman with an equally strong moral center, desperately trying to cement herself against the corroding fissures of nationalism that develop around her. It also helped that filmmaker Villeneuve painted a morose, inky masterpiece of half shadowy images and tightly framed bodies in perfect motion. In this latest version (also written by Taylor Sheridan), the emotional core is supposed to fall onto the surrogate father-daughter relationship that develops between kidnap victim Isabela Moner and assassin chess piece Benecio Del Toro. Barely flaked together and instead choosing to focus on the maneuvers of smooth talking soldier-types (Josh Brolin and Jeffrey Donovan again), "Sicario: Day of the Soldado" establishes little empathy for the two and swings for a populist ending that feels half baked and served up just to make the audience feel good after the previous two hours of lazy border phobia and calculated violence.

Leave No Trace 

Observational and just as transient as its title, Debra Granik's latest film succeeds in the quiet moments between rudderless PTSD veteran dad Ben Foster and newcomer Thomasin Mckenzie as his daughter living a bohemian/exterior lifestyle. Also largely moving is the parade of weathered, seemingly naturalistic faces that dot the rugged landscape as they travel from camping spot to the next, moving further and further away from the concrete pillars of civilization. If there's anything to fault "Leave No Trace", its the fairly routine narrative that winds its way into some expected beats. Still, a good portion of the film is acute at narrowing its focus on the father/daughter duo who give weighty performances.

Three Identical Strangers 

Relying on a fairly pedantic documentary style with straight ahead personal testimonies and lackluster visual recreations, Three Identical Strangers survives not on visual grandiosity but the inherently fascinating story at the center.  Full review at Dallas Film Now

Ryuichi Sakamoto: Coda 

Like so many artists, we generally understand their art is often synonymous with life. In the case of Ryuichi Sakamoto: Coda, not only does the artist make it clear he’s still breathing because of his art, but he also wants to show us the possibilities art can reveal to the world. See this film. It’s a masterpiece. Full thoughts at Dallas Film Now

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