I’m in the main auditorium at the AFI Silver in suburban Maryland when the curtains close on the big screen while the lights dim, but don’t extinguish entirely. A warbling, haunting tune burbles out of the speakers: The overture for 2001: A Space Odyssey serves as both a warning to those still milling about outside the theater and a tone-setting piece of music, an unsettling jingle that signals scope of the picture we’re about to see.
I’m not entirely sure I could recall for you the plot of the first Ant-Man film. There was something about a thief played by Paul Rudd stealing a suit that makes him small from a scientist played by Michael Douglas who had a daughter played by Evangeline Lilly and also the aforementioned characters wanted to stop Michael Douglas’s work from falling into the hands of the congressman from House of Cards, who was evil because capitalism.
This essay discusses plot points of Sicario: Day of the Soldado, including some moments near the end.
Sicario was refreshingly blunt in its nihilistic realism: it was a film about people moving through a broken world they knew they couldn’t set right but could at least gain some measure of control over. And while Sicario: Day of the Soldado has its moments, where it goes most wrong in its failure to live up to the example its predecessor set.