It begins with an all too familiar
aerial shot that is, of course,
accompanied with a dramatic orchestral score, but the Dowdles try to mix it up and flip the
image upside down for no apparent reason.
The one saving grace of Sicario is the considerable talent of cinematographer Roger Deakins, who continually finds new, striking
images to couch all the action in: breathtaking
aerial shots that fittingly transform the border zone into some hugely elaborate model, the green - tinged night - vision shots that
accompany the team taking over a cartel tunnel, the impenetrable sea of dust a bomb blast carries in its wake.