SISU (2022)
Many years ago, almost nine at the time of writing, I recall covering a film called Big Game. Perhaps under-rated and probably under-seen, it was a mixture of Jalmaris Helander's European sensibilities and a lot of Hollywood action movie tropes. It was an odd change of direction for a film-maker that had previous made the eccentric holiday horror movie Rare Exports. But his fondness for the genre was evident in a story where a Finnish youth and an American politician had to join forces. It's this kind of mix-up which returns here in an English language war film set in war-torn Finland, which focuses more on outrageous spectacle than real world detail. It's a grim backdrop with a lot of gruesome moments, but it's a story told with a firmly dark sense of humour.
It's a simple tale of one man, former soldier Aatami Korpi, (Jorma Tommila) and his quest for gold. Times are desperate as he tries to leave the conflict behind by searching for his fortune. He's seen a lot of bloodshed and the countryside is a barren wasteland. It could be a sombre tale of one man's solitary journey in the wake of so much death and destruction. It could also be an exploration of the effects of greed in a time of ruthless acts. But from the way the treasure shines a yellow light on his face to the title cards of each chapter, it's clear that the some influence from Quentin Tarantino has made its way into the film. It's also clear that the focus of the film is this simple search for loot, rather than any deep character study. Which is perfectly fine as a stage for various action set-pieces.
Various roadblocks, in some cases literal, slow Aatami's journey across a blasted landscape. Soon after loading his horse with (cartoon sized) pieces of glittering treasure, he inevitably comes across a German outfit trying to leave the country, leading to many violent exchanges. Beyond its tone the style of the story also lends it all a sense of being larger than life, despite the smaller scale of everything that unfolds. Finland itself, for most of the running time, is an sparse alien world, some areas ravaged by battle and others untouched by civilisation. Beyond a handful of female prisoners being held by the antagonists this is a featureless place without other inhabitants. The only other local face is Aatami himself who seems to be more ghoul than man as things progress.
It's this growing sense of unease that propels the narrative, as he transforms from a lonely old prospector into a grizzled commando out for revenge. Perhaps he's a typical one-man army in the vein of past action heroes, or perhaps he's more of a supernatural figure. Either would make sense given the director's earlier projects. Folk tales of a man who refuses to die are spread around as the situation escalates and the SS platoon suffers heavy losses. It's not a true mixture of horror and action in the vein of say Predator, but there are some notably brutal moments in which Aatami's survival feels like some only a movie monster would be capable of. His escapes from drowning and hanging in particular feed into this overall vibe.
But in terms of the the action sequences themselves the film is frequently gratuitous and outlandish. A lot of the usual wartime elements are here, from the trucks and tanks to the attack dogs and landmines. Some of the overall grit is lost in the third act when the makers go beyond their budget into a world of green-screens, however in general each chapter holds something fun or interesting. It's never entirely serious which means that the accuracy of certain inclusions like the tank design or a bomb in the finale can be overlooked. Some of it echoes the suspense of a Western while other moments are more in line with The Terminator. As Aatami becomes 'Koschei' or 'the immortal' it's easier just to go along with the ride.
Unfortunately someone has to talk about him in this way which leads to a small problem. The more grounded inclusions, or basically the rest of the cast, suffer in comparison to Aatami simply because they are given dialogue. This could be a perfect film if it was allowed to play out as a silent movie told through visuals and action. Instead various cast members have to deliver exposition in English, some while doing German accents. It often grinds to a halt so that company leader Helldorf (Aksel Hennie) and prisoner Aino (Mimosa Willamo) can talk about what is already obvious. Some of it is necessary to provide details about the journey, but the whole thing could probably lose five or ten minutes.
Still, overall it's still an entertaining ride that feels more post-apocalyptic than historic. The quest for revenge, or the quest for wealth, is a simple story after all. As road trips go it covers plenty of bumpy ground that results in various shocks, splats, and gibs, even if not everything is perfectly executed. Some tweaks could make it a lot smoother but it doesn't outstay its welcome or go beyond the opening premise. In terms of films about one man (and a dog) not to be messed with it's a brisk affair instead of anything that ever meanders or becomes bloated. Hopefully next time when the director cooks up a wild mixture of different genre influences he doesn't take so long, it will certainly be interesting to see what comes next.
4/5
BONUS REVIEW
DUNGEONS & DRAGONS: HONOR AMONG THIEVES (2023)
While Sisu was something I had been anticipating it's also nice to see something fun at the opposite end of the spectrum, from the realm of films nobody anticipated. Or actually saw, given the box office returns... Perhaps because of the much maligned earlier adaptation from more than two decades ago. Or perhaps because it's just not a property general audiences are interested in. It's a film where there are dozens of visual effects sequences and creatures, where people talk perhaps too much, and in which a smaller scale has been abandoned in favour of fantasy spectacle. However, while this Guardians of the Galaxy style team up has plenty of opportunity to become overbearing or bloated it's an oddly charming affair, thanks to understandable stakes and a cute cast.
Thief and bard Darvin (Chris Pine) is a Chris Pine type, and his barbarian associate Holga (Michelle Rodriguez) is cast for the same reasons, as is the rest of the ensemble. Hugh Grant is here in yet another villain role like all the others he's done recently, but it's still an entertaining part. While the story as a whole revolves around continent sized invasions by evil wizards, the basic elements are things like heist scenes and family drama. Which means that dry monologues and portents of doom are often sidelined as the band falls from one misadventure into the next. It's packed with individual scenes involving narrow escapes, zombies, shape-shifters, and stolen loot. It's never self-serious and while some gags might feel flat the pacing keeps it all together.
Perhaps it's because the human elements are all pretty good, or perhaps it's because the weaker visual effects are held up by some good practical ones. The overall tone won't be for everyone but it's probably something those who know where Icewind Dale is and those who've never thrown dice can enjoy. This probably shouldn't work at all given the niche it's been developed for, but it helps that the whole thing feels like a (mostly) self contained journey. Some sequel teases are included, but again those poor ticket sales mean that this ever seeing a follow-up is pretty unlikely. In the end is just a light-hearted and imaginative affair with enough heart to make everything come together.
4/5
