"In 2022, the Finnish indie action movie Sisu had the look of a one-hit wonder. Pitting a grizzled prospector against an entire platoon of Nazis, writer-director Jalmari Helander heeded the lessons of George Miller's Mad Max: Fury Road, principally that there is serious cinematic value in going pedal-to-the-metal along a single, straight narrative line. That profitable sleeper hit now yields this choice follow-up, which somehow feels more expansive while still clocking in under 90 minutes."
"Cutting to the chase grants Helander time to craft set pieces in which Aatami outthinks and outflanks the Red Army's might; in this respect, Sisu 2 is a more-of-the-same sequel. The good news is that it remains terrific: punchy, old-school stunt work, crisply uncluttered cutting, and varied, inventive baddie-splattering from the moment Aatami deploys one of those beams to take down a jet fighter."
"Revelling in his homeland's gorgeous, sun-dappled scenery, Helander has the boyish enthusiasm of a kid playing war games in the woods; you half-expect someone's mum to call everybody in for tea. It may be cartoonish look sharp for a regrettably misplaced mousetrap but the comic-strip simplicity serves as a rebuke to knottier blockbusters. You don't need excessive CGI with practical special effects as potently compelling as Tommila's bloodied, defiant face. The script meanwhile offers one grace note after another."
Sisu 2 continues the minimalist, high-velocity approach of its predecessor, running under 90 minutes while expanding scope. Aatami (Jorma Tommila) receives a tragic backstory and confronts ruthless Red Army butcher Igor Draganov (Stephen Lang). The film uses an economical structure—few setup scenes—so action set pieces dominate, showing Aatami outthinking and outflanking the occupying forces. Practical effects and old-school stunts provide visceral thrills, including a beam used to down a jet fighter. The sunlit Finnish landscapes add a playful, comic-strip tone that contrasts knottier blockbusters. Crisp editing, inventive violence, and small script grace notes keep the momentum relentless and enjoyable.
Read at www.theguardian.com
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