ObviTheMargs

I've loved Noah Baumbach from the jump, however here we are in 2025 with a retrospective character study that grabs, dips, and meanders from a semi-relatable introspection to how-did-we-get-here slog. I liked it? Yes, mostly. I was never bored, and I did laugh out loud at quite a few parts, it's just - - - editing, I guess? Some things definitely could have taken up residence on the cutting room floor. Sandler does a fine job, as does the entirety of the cast. I cue Sandler though because Sandler. He isn't exactly known for his subtlety. The music is a nice stand out. Mortimer being co-writer, her character could've gotten more play. And Laura Dern? Love her. But if the film lost her character entirely, that might give the pace a little more? As it stands, it's the cacophonous surroundings of Jay Kelly's world that elevate the film as much as it bogs itself down. Less is more.

Q. How do you empty a full theater at a festival?

A. Screen this.

To be fair, within the first few minutes (moments? Seconds??) you know this is going to be not your average film or take on a classic narrative. And that's (mostly) fine. But honestly this thing careens from acceptably bad to maybe one day borderline cult but then ultimately make it stop because how did this even get into a festival screening? Think Raygun breakdancing at the Olympics. Sure, there will be fans, but as for the majority? How did Raygun actually get into that Olympic competition anyway? Likely the same way Dracula made it to the conveted second screening of the day in Sitges' main theater. No one veted the applicant. Like maybe at all. At. All. Don't even challenge yourself to try and watch this steaming heap.

Ok, we can all agree many successful journeys-to-wherever narratives ratchet up the action sequences to crescendo into bigger, better, bloodier, and Sisu 2 is no different. You'll enjoy the passing of each chapter, just so long as you don't think too much about logistics or motivations. The largely dialogue-less screenplay benefits from zero zingers and relies on the emotive countenance and eyes. Grunts, groans and growls aside of course. In short, this is a good use of your movie viewing capital as it delivers a well-paced tale of loss, struggle, and sweet, sweet - and yes, very bloody (though not overly gruesome) - revenge.