It's always fun when an unexpected genre gem arrives, and we got one with 2022's Sisu.
It's a simple tale of a Finnish veteran who crosses paths with Nazis and decides to take each and every one of them out. You simply can't go wrong with a movie about killing Nazis. Sisu: Road to Revenge picks up shortly after the first film's conclusion, and while it doesn't break the mold, it once again delivers some cathartic, high-energy thrills.
Aatami (Jorma Tommila) returns home after his blood-soaked adventure to a house that's no longer a home. He decides to move to a more amenable location, so he deconstructs his house, loads it onto his truck, and hits the road. A Russian commander named Dragunov (Stephen Lang) has other plans, though, and soon Aatami is once again forced to think outside the box while totally and completely destroying the enemy.
Sisu: Road to Revenge is a cartoon come to life, and that's meant in the best possible way. The action set pieces are both exhilarating and ridiculous, and the bloodshed is copious. Russians are less satisfying as villains, but the action and carnage is every bit as entertaining.
Tommila, once again playing the role nearly devoid of dialogue, is a sinewy force to be reckoned with, and Lang can always be relied upon to deliver a big, scenery chewing villain. Returning director Jalmari Helander knows these films are mostly one-note affairs, but he works to ensure that one note is gloriously fun. Still, there's a bit of heart this time around that might surprise some viewers.
Sony's new 4K release looks unsurprisingly sharp, and the action beats all unfold with crisp details. Special features are limited to a featurette offering a look at the film's production and an alternate ending that really isn't that much of a change.
Another sequel to a surprise genre hit comes home with Five Nights at Freddy's 2. Unfortunately, any fun you may have found in the first film is sadly absent this time around.
Mike's (Josh Hutcherson) little sister Abby (Piper Rubio) doesn't know the truth about the marionettes being possessed by dead kids and seeking out carnage of their own. It's a shame, as that knowledge might have stopped her from heading out to Freddy's and kicking off a whole new nightmare.
The basic appeal of the first film returns in the form of some cool, visually menacing animatronic characters brought to life by the wizards at Jim Henson's studio. Unfortunately, that's the only draw this time around as the plotting and dialogue leave everything to be desired. Scenes exist solely to hit viewers with lame jump scares, and the film reaches its end without you even realizing it. Better to get you excited for a third film, I guess.
The new 4K release looks and sounds fine, but you'd be hard-pressed to suggest the film was shot with its visuals as a top priority. The disc includes five featurettes exploring every aspect of the production, but only the ones focused on the animatronic characters are really worth the watch.
Speaking of unnecessary sequels, Now You See Me Now You Don't is the third entry in a franchise that doesn't know when to quit. The Four Horsemen (Jesse Eisenberg, Woody Harrelson, Dave Franco, and Isla Fisher) are back performing impossible magic -- i.e. dull, special effects-driven antics -- and this time they're joined by a quartet of young upstarts.
The groups join forces to take on Rosamund Pike -- a fool's errand, if we're being honest -- and the problems that plagued the first two movies remain. Yes, the screen is filled with talented individuals, but this is a paycheck gig if there ever was one. It's following the Fast & Furious model of thinking recognizable faces and digitally created action are enough to hold your attention.
Magic in movies can be thrilling, but even if we know trickery is involved, we need to still think it's somehow possible in the hands of terrific illusionists. These movies toss that idea to the heap and instead simply use cg and editing to make "magic" that really shouldn't entertain anyone over the age of five.
As with the film directly above, it's a new release so the new 4K looks solid enough. Action is clear and detailed, but that doesn't make it any more exciting. The special features include a commentary with director Ruben Fleischer, six featurettes on the production, and some deleted scenes.
Yorgos Lanthimos' Bugonia isn't a sequel, but it is a remake of the terrific South Korean film, Save the Green Planet. It follows a CEO (Emma Stone) who's kidnapped by a guy (Jesse Plemons) who might just be off his rocker. See, he thinks she's an alien.
What follows is a stress test, of sorts, both for the CEO and audiences, as she's tortured in his pursuit of the truth. His reasoning is nonsense, but his motivation comes from a place as much of emotion as it does madness. Plemons makes you feel for the guy even as he's doing bad things, while Stone plays things a bit closer to the vest. Is she an alien, or is he simply insane? And does the answer to the question ultimately matter, given the issues at stake here?
As is often the case with Lanthimos' films, you really can't fault anyone for disliking this one. If you're on its wavelength, though, the film delivers some interesting beats and scenes. I still prefer the Korean original for a few different reasons, but this is a solid remake.
The new 4K release is a solid one and home to a single special feature. It's a featurette packed to the gills on the film's production, but seeing as it's only 24 minutes long, well, don't expect too much in the way of details.
Paul Thomas Anderson, meanwhile, makes movies that more people love without much in the way of dissent. (Well, apply that to most of his films anyway as, sorry, but I still don't dig The Master.) Two of his films are new to 4K -- his first hit, and his latest success.
Boogie Nights isn't quite a straightforward genre picture, but in addition to being fantastic, it's also home to some violent beats and suspenseful moments. The core of it, though, is an elaborately entertaining character piece dissecting both a time and a field with equal parts honesty and wit.
Mark Wahlberg, despite having essentially disowned the film because he's a god-fearing dingbat now, is terrific as a naive young man seeking stardom in the world of porn. Anderson crafts a loving ode to the people who called porn home, and the supporting cast -- Burt Reynolds, John C. Reilly, Philip Seymour Hall, Julianne Moore, Heather Graham, Don Cheadle, and so many more -- all bring warmth and rich character to the story.
That warmth carries over to the film's visual presentation on the new 4K release. Colors are rich, and the soft tones work to help shape and maintain the film's period atmosphere. It looks great, but it's not a transfer that bursts with detail or really stands too far apart from its Blu-ray counterpart. Special features are ported from previous releases and include two commentary tracks (one with Anderson and the other with the director and some of his cast), deleted scenes, and a music video. One new extra features Q&A panels from screenings in 2003.
Anderson's latest triumph is One Battle After Another, a genre hybrid blending action, comedy, and a sharp commentary on our nation's current war with itself. It's a strong contender at this year's Academy Awards and holds up beautifully on rewatches.
Leonardo DiCaprio plays a middle-aged rebel and revolutionary who gave up his subversive ways and explosive skills in order to raise his daughter (Chase Infiniti) after her mother (Teyana Taylor) skipped out on the cause. Everything comes crashing back, though, when a jarhead with a hard-on comes calling.
This is an epic look at a country in turmoil, and it juggles genres and tone with a masterful control. Big laughs are chased with touching and sad moments, while suspenseful thrills are paired with blackly comic assessments of a country in decline. Through it all, though, the film delivers an affirmative message of hope and resilience as immigrants and minorities come together to fight back and hold the line.
The film is every bit the masterpiece that some of Anderson's other movies have been called, and it's arguably his most accessible film in the process. It speaks to people of all stripes, finds heroic moments along the way, and ends on a high note that stands strong and optimistic.
The new 4K is gorgeous, but it's only downfall is that the film is all you get. Warner Bros. has promised a second release in a few months that will include a wealth of special features, but for now, it's as bare bones as it gets. Still, and as I've already mentioned, this is a masterpiece.