The 12 Best Movies To Watch If You Like Sicario

Movies don’t get much better than Denis Villeneuve’s “Sicario,” an Oscar-winning 2015 drama that takes a hard look at the war on drugs as seen through the eyes of a naive FBI agent (Emily Blunt). Written by “Yellowstone” creator Taylor Sheridan, “Sicario” doesn’t play by traditional rules. There are no heroes or villains or easy solutions to complicated problems. Instead, this world is littered with characters like Benicio del Toro’s haunted assassin Alejandro Gillick and Josh Brolin’s ruthless and curiously detached CIA operative, two men who willfully execute their ethically compromised missions because it’s the only path that leads to something resembling success.

Dark, atmospheric, well written and acted, and boasting some of legendary cinematographer Roger Deakins’ best work, “Sicario” is an experience you won’t soon forget. There aren’t many films like it.

That said, there are films we wholeheartedly recommend that at least come close. We’ve compiled a list of the 12 best movies to watch if you liked “Sicario,” in case you’re in the mood for another gritty crime thriller that blends visceral action with a cogent commentary on justice, morality, and the consequences of violence. Read!  

Let’s not overthink this too much. If you like “Sicario,” chances are you’ll enjoy the sequel, “Sicario: Day of the Soldado,” which carries over the same hard-hitting violence and political intrigue as the original albeit in a more straightforward manner. That’s not necessarily a dig at the follow-up. Few films match the cinematic brilliance of “Sicario,” and few filmmakers are able to mimic Denis Villeneuve’s virtuoso style, particularly without cinematographer Roger Deakins riding shotgun. Director Stefano Sollima doesn’t try to ape his predecessor, preferring to lean harder on action than abstract themes, and manages to cobble together a handful of solid set pieces that should (mostly) satisfy fans of the original.

After a bomb by members of ISIS kills Americans in a grocery store, Josh Brolin’s CIA officer Matt Graver is instructed to start a war between the drug cartels suspected of smuggling the terrorists across the border. Once again, he taps Alejandro Gillick (Benicio del Toro) for the job, and together, the dynamic duo plot the phony kidnapping of Isabel Reyes (Isabela Moner), daughter of a high-ranking drug kingpin, to stoke the flames. Things go awry, leading Alejandro to choose whether to complete the mission or guide Isabel to safety.

“Day of the Soldado” lacks the sophistication of “Sicario,” but remains an absorbing thriller that paves the way for a third entry — if it ever happens. 

“American Made” doesn’t earn points for honesty. Instead, Doug Liman crafts what he calls “a fun lie based on a true story,” mixing fact with fiction, and to that end, this 2017 comedy drama doesn’t disappoint. Thrilling aerial footage and a nuanced performance from Tom Cruise recount the tale of doomed drug trafficker Barry Seal, who got stuck playing both sides of a perilous game, ultimately leading to his death.

Don’t let that dissuade you. Despite the dark subject matter, Liman keeps “American Made” moving along at a kinetic pace, focusing on Seal’s wild antics and uneasy relationships with a shady CIA operative (Domhnall Gleeson) and Pablo Escobar (Mauricio Mejia). By structuring the story as a rags-to-riches comedy, in which Barry and his wife (Sarah Wright) earn more money than they know what to do with — leading them to literally bury their immense fortune — “American Made” is far more entertaining than harrowing. Most of what you see may not be based on fact, but it captures the spirit of the tragic tale and makes for a helluva ride. 

Michael Mann’s big-screen adaptation of his classic TV series, “Miami Vice,” takes a few viewings to fully appreciate, but it offers a stylish, immersive experience for viewers willing to embrace its occasionally ludicrous plot. Fans of the show know the drill: detectives James “Sonny” Crockett (Colin Farrell) and Ricardo “Rico” Tubbs (Jamie Foxx) patrol the neon-lit Miami drug scene, battling all manner of villains, foreign and domestic. When an operation goes south, the pair must go deep undercover to bust a powerful drug trafficker and wind up entangled in a perilous game.

“Miami Vice,” like most of Mann’s films, spends a good deal of time fleshing out characters and relationships, particularly the secret romance between Sonny and Isabella (Gong Li), before getting to the obligatory action. Honestly, it’s worth the wait, no matter how much Farrell doesn’t like this crime thriller. While the relationships lack the sizzle of those found in Mann’s classic TV series, we still connect enough with this iteration of Sonny and Tubbs to give a damn when the bullets start flying.

Stylish, beautiful to look at, and cooler than a Phil Collins album, “Miami Vice” offers the type of rousing cinema only Mann could produce.  

Ben Affleck made his directorial debut with this impressive crime drama based on Dennis Lehane’s novel, proving quite formidable behind the camera. Multilayered and morally complex, “Gone Baby Gone” stars Casey Affleck as private investigator Patrick Kenzie, who takes a case to find the kidnapped four-year-old daughter of Helene McCready (Amy Ryan), a drug addict living in Boston. As Patrick and his girlfriend, Angie (Michelle Monaghan), investigate the girl’s disappearance, they discover a much larger conspiracy that ultimately challenges their ethical values.

Much like “Sicario,” “Gone Baby Gone” relies more on atmosphere and character than outright action. Plenty of tense moments fill the 114-minute runtime, but Ben Affleck (who also co-wrote the script with Aaron Stockard) is more focused on exploring the flawed heroes of his story and the fragile morally gray area in which they operate. Co-starring Morgan Freeman, Ed Harris, John Ashton, and Amy Madigan, this tense 2006 feature is perfect for anyone needing an emotionally charged thriller.   

Remarkably, at his advanced age, Clint Eastwood keeps churning out top-tier entertainment like “The Mule.” Directed by and starring the cinema legend, this 2018 drama follows a Korean War veteran’s activities as a drug runner, or “mule,” for the drug cartel. Based on a 2014 New York Times article titled “The Sinaloa Cartel’s 90-Year-Old Drug Mule,” this fascinating drama, like most of Eastwood’s efforts, offers plenty of multifaceted characters to dissect, making for a surprisingly moving experience.

Earl Stone (Eastwood) enjoyed a storied career at the expense of his family. After falling on hard times, he agrees to transport drugs for the cartel and earns enough money to restore his life. Naturally, his actions attract the attention of a DEA Agent named Colin Bates (Bradley Cooper). Will Earl listen to his conscience, make things right with his family, and escape his predicament? Or will his new profession prove too lucrative to give up?

Like “Sicario,” “The Mule” shows the nasty side of the drug trade, run by power-hungry gangsters willing to execute anyone who gets in their way. In many ways, Earl is very similar in style to Blunt’s Kate Macer, specifically how he slowly comprehends the precariousness of the war on drugs. The more he learns about his new enterprise, the more he wishes he’d stayed far, far away.

A relentlessly gripping war drama, “The Hurt Locker” chronicles a U.S. Army Explosive Ordinance Disposal team’s tour in Iraq as they deal with the psychological ramifications of their work. Directed by Kathryn Bigelow, this Oscar winner will leave you on the edge of your seat, frantically gripping the seat cushions during each increasingly tense situation. It’s not exactly rip-roaring entertainment if you catch our drift — take a look at the first eight minutes if you don’t believe us.

Jeremy Renner stars as Staff Sergeant William James, a thrill junkie called to action after the death of Staff Sergeant Matthew Thompson (Guy Pearce) leaves a crew sans a team leader. As Sergeant J.T. Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty) perform their required duties, James’ antics draw them closer to the brink, leading to more tension within the unit.

“The Hurt Locker” isn’t a film in the traditional sense; there isn’t much of a plot. Rather, Bigelow focuses on her three protagonists, delving into their psyche to see how they handle increasingly dire situations. It’s a fascinating exercise, filmed in the same unnerving style Denis Villeneuve employed for “Sicario.”  

Arguably, the best Jack Ryan feature, “Clear and Present Danger,” sees our beleaguered CIA agent taking on Colombian drug cartels while dealing with corrupt politics in Washington, D.C. Harrison Ford again assumes the role of Tom Clancy’s everyman and offers a little more depth on his second go-round (the first being 1990’s “Patriot Games”). Here, Jack is less an action hero than an overwhelmed desk jockey who gets in over his head after his boss, James Greer (James Earl Jones), appoints him to acting Deputy Director of Intelligence. This risky gig forces him to question his morals, particularly after the President of the United States (Donald Moffat) starts a secret war in response to a hit on a close friend.

Solid action and weighty themes elevate “Clear and Present Danger” beyond the standard action flick. Here is a film about truth, honor, patriotism and valor, skillfully directed by Philip Noyce. At 141 minutes, it runs a little long, though a “Rambo”-esque third act rescue operation — where Ryan teams up with John Clark (Willem Dafoe) to save a group of soldiers — ensures it ends on a high note.

“Clear and Present Danger” may not capture all of the complexities of Clancy’s best-selling novel, but it’s a damn fine action flick that expertly balances smarts and spectacle. Ford delivers one of his best performances, cementing Jack Ryan as one of his most iconic roles.

Any of Denis Villeneuve’s films could be compared to “Sicario” due to their shared philosophical outlook. However, “Prisoners” comes closest in exploring similar cerebral themes, and, like “Sicario,” places relatable characters in complicated situations before stepping back and carefully observing their reactions.

“Prisoners” follows Loki (Jake Gyllenhaal), a world-weary detective tasked with solving a kidnapping. Pretty cut-and-dry, right? Well, the kidnapped child’s father, Keller Dover (Hugh Jackman, in a role that greatly affected him), is a volatile man willing to do whatever it takes to solve the case. Problems arise when he suspects a local man, Alex Jones (Paul Dano), may have something to do with the crime, propelling Keller to take action. He kidnaps the young man and begins torturing him for information, and his actions only intensify the longer his child remains missing.

In a similar manner as “Sicario,” “Prisoners” isn’t an easy film to watch. It’s an incredibly dark, violent film packed with clever twists and turns, a powerful ending, and more than a few plot contrivances. Nonetheless, Villeneuve turns what might’ve been a routine thriller in lesser hands into a captivating morality tale about revenge.

“Sicario” writer Taylor Sheridan lends a sturdy script to David Mackenzie’s neo-Western “Hell or High Water,” this time concocting an evocative tale of two brothers fighting to break free from economic hardship. Doing so requires them to rob banks in West Texas while being pursued by Marcus Hamilton (Jeff Bridges), a grizzled, wisecracking Texas Ranger.

Again, we have a film lacking atypical heroes and villains. Sure, Toby (Chris Pine) and Tanner Howard (Ben Foster) are criminals, but as the story continues, we understand their plight and even sympathize with the two young men. Concurrently, Hamilton is determined to catch these robbers, not out of devotion to the law but out of a desperate need to prove his worth. Sheridan creates plenty of tense moments that test our characters’ resolve, but ultimately leaves it up to the audience to determine the morality of their actions.

Masterfully crafted, and often funny, particularly in how Marcus banters with his disgruntled partner Alberto (Gil Birmingham), “Hell or High Water” gives viewers plenty to contemplate from the evocative opening scene to its unforgettable finale. 

Another Taylor Sheridan production, “Wind River,” explores the injustice facing Indigenous people in modern-day America, where women are raped and murdered without consequence to the perpetrator. 

When the body of a young girl (Kelsey Asbille) is discovered, FBI Special Agent Jane Banner (Elizabeth Olsen) teams up with U.S. Fish and Wildlife Service Agent Cory Lambert (Jeremy Renner) to investigate. Dealing with the harsh winter elements of the Wind River Indian Reservation while simultaneously dealing with its shaky law fare, Jane must adapt to this new culture or suffer the consequences.

Well acted, and packed with suspense, “Wind River” doesn’t shy away from the darkness inherent in its subject matter. As with Emily Blunt’s character in “Sicario,” Jane provides a window for audiences to view this alien landscape, and slowly but surely understand the gravity of the situation. Fair warning, this isn’t the type of flick you casually fire up on a Friday night. The movie aims to leave a lasting impression and is a challenging yet rewarding watch for anyone willing to pay attention. “Wind River” fans will be glad to know a sequel is on the way, albeit one without Renner aboard.

A genuine modern classic, “No Country for Old Men” is Joel and Ethan Coen’s magnum opus. That’s not to say they haven’t made anything good since then, but nothing quite as transcendent as their adaptation of Cormac McCarthy’s novel, a somber examination of evil in present-day society.

The story follows a rugged cowboy named Llewlyn Moss (Josh Brolin) who stumbles upon a sack full of cash and takes it home against his better judgment. That decision stirs a hornet’s nest, and it’s not long before the rightful owners send deranged hitman Anton Chigurh (Javier Bardem) to get their money back. Also along for the ride is an old Sheriff (Tommy Lee Jones) struggling to understand this violent new world and a jovial bounty hunter (Woody Harrelson) with ties to Anton.

As is customary with their work, the Coens craft a tight-knit picture full of fascinating characters and clever, witty dialogue while exploring themes about morality, justice, and consequence. “No Country for Old Men” won Oscars for Best Picture, Best Director(s), Best Supporting Actor (Bardem), and Best Adapted Screenplay, and rightfully so — it’s an astonishing piece of cinema that echos the same themes as those found in “Sicario.” Over a decade later, the ending of “No Country for Old Men” is more powerful than ever.

Powerful and provocative, Steven Soderbergh’s “Traffic” views the war on drugs through multiple lenses, allowing viewers to see the various ways it impacts people from all walks of life. Broken into three storylines, this star-studded drama took home four Oscars for Best Director, Best Supporting Actor (Benicio del Toro), Best Adapted Screenplay, and Best Film Editing and paved the way for an Emmy-nominated three-part mini-series.

Benicio del Toro stars as Javier Rodriguez, a Mexico police officer tasked by a high-ranking Mexican general with locating a dangerous cartel hitman. The deeper Javier gets, the more corruption he discovers on both sides of the law. Meanwhile, in America, Robert Wakefield, a drug czar, struggles to make a dent in the war on drugs, a feat made more difficult when his daughter (Erika Christensen) becomes a drug addict. Finally, a third plot involves the wife (Catherine Zeta-Jones) of a powerful drug lord (Steven Bauer) contending with DEA agents to preserve her husband’s power.

Soderbergh seamlessly weaves through these storylines, producing a multifaceted, unflinching look at an ongoing and harrowing crisis with few solutions.