Strike Back: Vengeance (Season 3) – when a billionaire acquires four nuclear triggers in order to re-shape Africa, only section 20 can stop him. Continuing with the UK/US collaboration, this takes everything that worked about ‘Project Dawn’ and made it all bigger/louder/better. Every episode is wall to wall action; with dozens of set pieces, hundreds of deaths, and a load of whiz-bang sex scenes. The entire season is 100mph, and it’s simply great fun. The characters feel more rounded, the leads’ chemistry is fantastic, and it’s very professionally made – but things like ‘character development’, ‘plot’, and ‘direction‘ are background noise to the explosions, gunfights, stunt driving, and spec ops that march the show forward. It’s hard to believe that such a ridiculously intense level of action (huge set pieces every 10 mins or so) can be done on a TV budget – the 10 episodes are paired off into FIVE 90-minute long mini missions that run together. In a world of toned down and heavily edited 12-rated action films, the swearing, sex, and sensational action makes this feel like something from ‘the good old days’. Completely knowing, and aimed directly at young male action fans, Strike Back Vengeance is a show that only really does one thing (infinite ammo, high-octane action turned up to 11), but does it brilliantly – making it a truly unmissable show for action fans
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.