Sicario is a film that is as close to the hyperbole "unrelentingly intense" as a film can get. It's a film about morally grey areas, commonplace violence and brutality. The characters in the film are varying shades of bad, with only Emily Blunt's fairly one-dimensional character an anchor for the average viewer to attempt to relate to.

In fact, all the characters are one-dimensional. This would have immediately sent a lesser film straight to movie hell, yet the main characters of this film are the themes and emotions created by the plot and tone. Initially, the film looks to be a traditional battle between American security forces and Mexican cartels - by the end of the film, it's unclear who the real heroes are, or if there are any. Despite the rigid structure of the characters, the film works with them as placeholders to get it's message across. Emily Blunt and Benicio Del Toro give some of their best performances to date - Blunt portraying a physically and mentally worn out fed, and Del Toro a brooding and charismatic enigma.

Taylor Sheridan seems to have found his calling not as an actor, but as a screenwriter. The story is engaging and well-paced, presenting contemporary issues concerning jurisdiction, morality and violence without preaching or making them overly obvious. Villeneuve's direction moulds the script to become airtight, apparently cutting most of Del Toro's dialogue to emphasise the physicality and mystery of his character.

The heroes of the film's production are, without a doubt: Jóhann Jóhannsson (composer), Roger Deakins (cinematographer) and Joe Walker (editor). It goes without saying that Dennis Villeneuve's choice to work with these artists is as commendable as their work in the film. Jóhannsson's soundtrack fits the style of cinematography and editing perfectly -- a sense of constant motion forwards, building to sudden violence. Likewise, Joe Walker takes Deakins' shots, leaving them lyrically lingering when necessary, and creating a palpable sense of tone and pacing.

Roger Deakins showcases some of his best cinematography in Sicario - Leonardo DiCaprio's lack of an Academy Award is the most talked about snub, but it should be Deakins' twelve nominations that never resulted in an award that is a travesty. Roger Deakins lights the film in a highly traditional style that he has made his own. Indoor scenes have blown-out windows, leading the audience to absorb all of the relevant information onscreen without exterior distractions. No one captures a sunset or sunrise like him, and the wide-angle shots of desert and clouds creates a lyrical if not foreboding tone. Here's a great interview with Deakins concerning Sicario, courtesy of the always reliable American Cinematographer.

Most of Dennis Villeneuve's films require a second viewing. Prisoners and Encendies had huge impact on me while I watched them, yet the aftershocks faded fairly quickly. On a second viewing, the films remained in my mind - there's a certain efficiency to Villeneuve's films that is impressive, if not overly efficient. When one of his films is over, it's over. Sicario is the greatest work in Villeneuve's oeuvre, and remains ingrained in the memory of the viewer due to it's masterful productions on all ends.