Following up on a singular film like “Sicario” is a hard prospect. The essence is that bigger isn’t always better but also the texture of certain films cannot be replicated. Denis Villenueve (who elected to make “Blade Runner 2049” instead of this film) had such a specific notion of the texture with its sheer brutality and overtones along with a protagonist point of view and an extended superstructure which made it extremely unique. “Day Of The Soldado” fares better than most sequels simply because the ideas behind it are even more prevalent than when the first film was made and even since this sequel itself was released in theaters with everything that is happening along the Mexican border near San Diego. The essence is that the two lead characters of Matt and Alejandro (as played by Josh Brolin and Benicio Del Toro respectively) have to grow and be held accountable in certain ways for their actions. Of course, there is no way to parallel or even come close to the conclusion of the original “Sicario” which this reviewer initially stated in a way as a “reverse Scarface” after seeing it at the premiere in Cannes a couple years back. Here there is no true segment like that though one involving Alejandro in the desert is pretty wrenching and oddly enough sets another structure in motion that might be interesting to contemplate should the story continue. The director in Stefano Sollima, an Italian filmmaker who made the TV series “Gomarrah” on the mafia in Italy was a great choice but again is no Denis. However with original writer Tye Sheridan writing the sequel and completely understanding the machinations of his world and Darius Wolski who has shot “Fight Club” & “Se7en” for David Fincher, the behind the scenes elements are up to scale. Even Isabella Moner who helped lead the most recent “Transformers” movie shows a definite range as the kidnapped daughter of a drug lord here and holds her own. The Special Features on the disc are succinct and very intuitive of the characters and what the film is trying to achieve from the locations and “making of” to hyperfocusing with the actors on what makes the characters tick. “Day Of Soldado” is not its predecessor but it does a good job in trying to maintain the bar.
The essence of mainstream Chinese cinema reflects in certain values and textures of the mythic. In Brothers, the ideal reflects back in the war in the 1920s between the nationalist and the communist factions in China. While the ideology is not specifically addressed, the specific story is integrated between two brothers indoctrinated into the army but ultimately through circumstance they find themselves on separate sides. The filmmaking structure of the technology according to the behind the scenes bonus features began in 2010 and the film was purely made on a stage with green screen. The look of the film reflects that mostly of “Sin City” and, to a lesser point, “300” (made in 2005 and 2006 respectively). Creating whole battle sequences on water and on mountains in this way is interesting but obviously labor intensive as the film didn’t come out until 2016. The conflict involves the older brother Wang and the younger brother Chen coming to terms with the men they have become and their loyalty to those they serve. The underlying narrative structure involves Chen being assigned after a particularly brutal battle to escort some female musicians to a place called High City for a performance. His brother, now part of an assassin squad, finds them and their conflict of ideals begins. While the dialogue is very matter of fact, the texture of the relationship makes definite sense as it does rouse to an almost blindsided conclusion until the resolution is structured. The bonus features also speak to the two actors’ approach to their perspective characters but the enclosed trailer does give away too much of the plot. “Brothers” shows the continually evolving market’s ability to try new things while remaining in certain element of mythic themes resonant to the individual.
The accessibility of a remake always depends on the people making it and the necessary ramifications for such a pursuit. The ideal behind “Papillon” which was previous made as a movie in the 1970s starring Steve McQueen & Dustin Hoffman is one of showcase. Most younger generations wouldn’t have had a perception of such a story, especially one that begins in the 1930s. But like most great stories worth telling, the essence borders in the mythic. Charlie Hunnam portrays Papillon. Hunnam definitely has an eye for unusual material with literical overtones which might not necessarily give breathe to his marquee value but definitely marks him differently. He turned down “Fifty Shades Of Grey” right before he was to shoot it. While “King Arthur” didn’t succeed, “The Lost City Of Z” was an interesting choice. The challenge is obvious within “Papillon” for him but like “ A Prayer Before Dawn” from A24 earlier this year, the power of the story might not have been enough to connect with audiences. The aspect of Rami Malek, who now has reached a mainstream perception with his lead role as Freddie Mercury in “Bohemian Rhapsody”, playing Louis Dega nicely complements Hunnam’s Papillon much like Hoffman to McQueen. Malek brings a quite reserve and nervousness to Dega which again shows his dynamic range as compared to say his work on “Mr. Robot”. The locations are interestingly vague yet specific. It starts out in Paris in the 1930s, all shot on soundstage. Most of the actual prison and interiors seems to be have been shot in Serbia. There is an old world dirtiness to the proceedings while including a sense of history. The essence of Malta is definitely felt in Devil’s Island (who many may recognize from the ending of 1980’s “Popeye”) The themes of escape and abandonment versus a sense of belonging resonate throughout the film. The film does get a bit esoteric during Papillon’s isolation time which is a creative choice but unbalances the progression. In terms of extras, there are a nice selection of deleted scenes though only two specifically give a specific enhancement to the film in terms of detail: one being the escaping band of criminals negotiating with a village of lepers and the other being Louis finding a sense of piece in gardening and caring for animals. Both scenes show a sense of gentleness both in Papi and Louis that maybe gets lost at times in the savagery of the prison. “Papillon” didn’t necessarily need to be made but those involve definitely show their passion in these continuing stories that need to be told.