Sicario: a young SWAT member joins a ‘special activities’ task force that may or may not be as legitimate as they first appear. The acting, direction, and visuals are gorgeous and often spellbinding; the characters and plot however… not so much. Very little new ground is covered, particularly with the characters: a naïve by-the-book agent (Blunt), mysterious and dangerous man-with-no-name (del Toro), the charismatic but cynical and amoral team leader (Brolin), questionable American operations, yada yada yada. The central character – who is already an unnecessary audience surrogate – has an even more redundant BFF to more explicitly vocalise her thoughts and attempt to let the dummies at the back know what may be happening (not much is actually revealed until the last 20 minutes). There’s a few nerve-shreddingly intense scenes like the border crossing, tunnel raid, and the last supper; which are paired with bursts of ultra-bleak violence and very graphic gore, which make the movie more grisly – although these felt like they were chasing notoriety, and ‘sexing up’ the otherwise flat tone. The daytime scenes look fantastic, downside being that some of the low-light or night-vision scenes are harder to follow. While Sicario looks fantastic, has the big names, and some dark and memorable scenes it’s far less effective than a straight-up drama like Prisoners: it feels a bit like a Steven Seagal/SWAT plot viewed through another character, and with an arthouse guise – leaving me with the impression that it’s more a film for the critics than the public. Like the pacing, story, shots, and characters, Sicario is intentionally slow and steady.