The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
Moner is terrific, and her character's fortunes can be read in her eyes-blazing to begin with, as she scraps with another girl in a schoolyard, but dark and blank by the end, their youthful fire doused by the violence that she has seen.
As if in imitation of the ruthless Mexican drug cartel its heroes go after, director Stefano Sollima's sequel decapitates, disembowels, and castrates Denis Villeneuve's beautiful, tough, and sad 2015 original.
A little goes a long way, and despite the presence of the sleepily charismatic del Toro-his beleaguered Alejandro carries heavy baggage both in his heart and beneath his eyes-the Soldado man show does grow tiresome.
The trouble with this muscular, fitfully absorbing, confusingly titled action movie - a bigger, brasher and less memorable picture than its predecessor in every respect - is that its cynicism too often feels like a put-on.
The follow-up to the 2016 feds-versus-cartels thriller is not in the same league as the Denis Villeneuve original. But Brolin and Del Toro keep the action strong and stinging until the sequel crosses the line into Trump-style fearmongering.
The two main adult male characters might look and act like brutal nihilists, but don't worry. By the end, they put the "I care" in "Sicario" and remind everyone that you can't spell "Soldado" without "Dad."
A needless sequel that serves only to deepen one's appreciation of the original's tightwire act and suggests that screenwriter Taylor Sheridan's moral ambivalence about American power ended with the Obama presidency.