Del Toro steals show in sequel

Anyone looking for laughs and fist-pumping moments among murky morals and evil deeds would be better off going to see Avengers: Infinity War one more time as Sicario 2 is tough viewing.

Beyond Isabela Moner’s (Isabel Reyes) innocent victim caught in the cross-fire, there are no redeemable souls as every face-to-face discussion or confrontation is dripping with sarcasm, anger, dread or a combination of all three.

Given the seriousness of the life-or-death subject matter, though, Sheridan’s script is justified in its downbeat, relentless approach; this is realistic – and essential – modern storytelling.

Del Toro was arguably the best performer in the first flick and he steals the show once again, while Sheridan thankfully doesn’t flesh out the mystery of his character very much.

Sollima wisely takes cues from Villeneuve by ensuring this sequel looks impressive; he and cinematographer Dariusz Wolski utilise sunlight, darkness, sand and close-knit camera work to elevate what is a relatively simple story to new heights.

What is lacking, however, is Johann Johannsson’s masterful score; Hildur Guðnadóttir’s musical accompaniments don’t register the same pulseracing dread.

The climax also feels slightly jarring as, unlike its predecessor, the aim seems to be to set up another follow-up and turn this into a trilogy.

I doubt the original intention of Sicario would have even entertained the notion of sequel-baiting.