If subtlety is your thing, Sisu probably isn’t. This is a movie about a near-mythic prospector mowing down Nazis in increasingly ridiculous and entertaining ways, and it knows exactly what kind of ride it is. Directed by Jalmari Helander, the Finnish action-thriller became an instant favorite with viewers who like their World War II movies with a little more carnage, a little less restraint, and absolutely no sympathy for fascists.
The streaming clock is now ticking on it too. JustWatch’s U.S. listing currently shows Sisu streaming on Amazon Prime Video and Amazon Prime Video with Ads, and the movie is marked as “Leaving”. So if you’ve had this one sitting in your watchlist, it’s officially entering the “stop procrastinating” part of the cycle.
A lot of the movie’s appeal is how cleanly it delivers on its pitch. Jorma Tommila plays Aatami Korpi like a man who has simply decided death is somebody else’s problem, and the film keeps escalating from there. It’s lean, nasty, very funny in a pitch-black way, and built around one of the simplest pleasures in action cinema: watching terrible people have a very bad day. Prime losing it is annoying, but at least it gives everyone one last excuse to fire it up.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Is ‘Sisu’ Any Good?
Collider’s review stated that Sisu is a gloriously over-the-top action movie that wastes no time showing you exactly what it is. Set in Finland during the final stretch of World War II, the film follows Aatami, a solitary former soldier who finds gold, only to have a group of Nazis decide they want to take it from him. That simple setup quickly turns into a relentless slaughter as Aatami proves to be the last person they should have messed with.
Again, this is a WWII movie from the guy who made Rare Exports and a film that is debuting at TIFF’s Midnight Madness presentation, so don’t expect subtlety with Sisu. Helander’s latest film is a gory, often disgusting, and ridiculous action film that revels in its absurdity, a film that simply wants to kill Nazis in new and interesting ways, and achieves that goal wholeheartedly. Sisu is certainly ridiculous, but sometimes it’s just fun to watch an obscene amount of Nazis get what’s coming to them.
