LeonLouisRicci

World War II Fetishists, Especially Those Who Love Their War-Movies, Be Warned...There is Nothing Remotely Real, Except, perhaps, the Uniforms, the Location (Finland), and the "Time-Stamp".

It's "The End" of the War and "Hoo-Rah" "The End" of The Thousand-Year Third-Reich. While a Platoon of the Goons are Retreating, They Still are Nazi's at Heart. Not Giving Up Without a Few "Black-Aces" Up Their Sleeves.

Scorching the Earth, Taking (Female) Hostages (for Cooking & Sewing?) and Continuing Their "Evil-Ways".

Our Hero, "The Immortal" who is Described as Not Really Immortal, but "Refuses to Die", is a Miner who Dug-Up Heaps of Gold and Headed for the "Good-Life", when...

He Runs-In to the "Villains", who Swat Him Aside as a Nuisance, Only to Discover that He is Carrying Gold...and Oh-Yea...He is a Hard Man to Kill.

That Back and Forth is Repeated for 90 Minutes of Screen-Time with More Ultra-Violence than a Warner-Bros Cartoon.

It's a Minimalist "Good v Evil" Fairy-Tale with Very-Little that Could be Called "Cerebral". It's a Funtastic, Bloody, Over-the-Top Entertainment Exercise that Delivers the Goods with Excellent CGI and Cinematically, a Baron and Bleak Back-Ground that Precisely Enhances the Moody Anti-Picturesque Environment.

A Sharp Satire on Greed and Defending Ground and Resources No Matter the Adversary,..No Matter How Over-Matched the Enemy Seems.

What Matters is Refusing to Die.

What Matters is How Creative You Are in Destroying those Nazi's with Bravado, Gusto, and a "Take-No-Prisoners" Movie-Maker Attitude About Approaching the Carnage with Glamorous Glee and a Guaranteed Fun-Time is Had by All.

It Reminds of a Tarantino-Esque Approach with Influences Like "Hardcore Henry" (2015),

This is a Surprising Import (in English) that Demands a Sequel for its Shear Hubristic "Chutzpah" (on the way).

"Sisu" is a "Bang-for the Buck" Movie that will Not Disappoint...Except Maybe Some...Who Can't Take a Joke".

Mark Wahlberg Reached Way-Down-Deep and Let it All Hang-Out in this Incredibly Believable "Evil" Performance that Shows the Guy Has Some Chops. Some of His Unhinged "Killer-Faces" are Truly Coming from His Dark-Side, and He Makes No Apologies for Stealing-the-Show.

Not that there is Much of a Show to Steal. It's a Lighter than Air Piece of Movie-Making that a Seasoned Pro Like Mel Gibson, by Now, could Direct this Stinky-Bomb in a Drunkin-Stuper.

As it Stands, it Looks Like Mel just Kicked-Back, Popped a Few, and let Wahlberg Loose to Stick the Landing. His Kitchen-Sink "Nut-Job" with Psychotic Rants about Having His Way with "The Witness" Mother,,,

and Doing the Same, and More with yet Another Fem-Front-and-Center "Bad-Ass". Mark Keeps this Thing From Free-Falling into a Crash and Burn Wasted, Half-Ass Attempt at a Satellite-Phone-In from All Involved,

That is Except the Indefatigable Deranged Dialog from Wahlberg that Seems to Come from a "Horror-Movie", One that is Really Suspenseful, Thrilling, and Scary.

In this Piece of Fakery He Alone is On-Board a Flight where His Captive Audience has Nowhere to Run or Hide.

The Other 2 Players in this Thing...Topher Grace and Michelle Dockery are Without Wit or any Where-With-All to Make it Entertaining. Their Zombie-Like Characters are D. O. A.

The Writer and the Director (Gibson) were in a "Dead Zone" Somewhere and Their Presence is Conspicuously AWOL.

Mark Wahlberg Tries to Darken the Skies, and His Performance Succeeds Mostly in Showing just How Out-of-It the Rest of the Movie-Makers Involved Fail the Film on Every Other Level.

Rough Raw Riveting...Low-Budget Bare-Bones-Neo-Noir...A True Nail Biter

Despite its Star-Studded Cast...Introducing Tony Munsante & Martin Sheen...with Beau Bridges, Ruby Dee, Jack Gilford, Thelma Ritter, Donna Mills, Jan Sterling, Gary Merrill, and Brock Peters...

This Thriller about a 2 Street-Thugs Commandeering a Subway-Car and Terrorizing the Passengers Cruelly One at a Time for almost 2-HRs in "Real Time", has been Forgotten, "Buried", Unseen, Under-Appreciated, Off the Radar and Mysteriously Missing from View and Little Mentioned in Cinema's Historical Record.

The Movie is Undeniably an Uneasy Watch. It does Require a Certain "Suspension of Disbelief" it Nevertheless is "Real" Enough, almost Too-Real, as it Slowly Introduces the Characters "Back-Stories" Before All Hell-Breaks Loose Aboard the Claustrophobic, Sardine-Can Subway Car.

You Can Feel the Tension, the Terror, the Sweat, and the Blood-Boiling Frustration and Fright as the 2 "Punks" Tongue-Lash the Victims Relentlessly Bringing Siege to Each on an Individual Level of Background and Persona.

Anticipating Mega-Box-Office and Critically Acclaimed Movies such as "Death Wish" (1974) and Others, this One was Quickly Forgotten, Shoved Under the Rug, and has been Ignored for Decades.

The Screen-Play Relies Heavily on "Cliches", but Takes No Prisoners as Flaws in Character and Pretensions are Laid-Bare and the "Human-Condition" Takes a Whipping from the "Devil's Own", in the Form of Musante and Sheen. Drunk, Psychotic, and Uncontrollable.

As "The Code" was Crumbling "The Incident" Took Chances with Topics that were Virtually Absent from Movies Until About 1968 when "The Code" Died and was Buried. Replaced by the "Rating System"

This is Cracker-Jack, Searing, In-Your-Face Dissection of Society, Psychology, and Philosophical Musings Packed-Tight (with no escape) and those Watching are Forced To Endure its Scathing Scenes that seem as "Real as Rain".

The Film's Gauntlet of Visceral Verbiage and Violent Encounters are Bound to Leave Audiences with Ill-Feelings, Nausea, and the "Willies" Long After the Show is Over.

An Absolute Must-See for Those that Can Take-It.

Sensitive Types Might Want to Stay Far Away.