Director: Ilya Naishuller
Writers: Derek Kolstad
Stars: Bob Odenkirk, Connie Nielsen, RZA, Aleksei Serebryakov, Christopher Lloyd
Synopsis: In a barrage of fists, gunfire, and squealing tires, an enraged man must save his wife and son from a dangerous adversary — and ensure that he will never be underestimated again.
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There are few films more viscerally satisfying than hard genre pictures. Leaning into the tropes and stereotypes of a can be every bit as fulfilling as breaking new ground, especially within action. Drawing on decades of “the old guy’s still got it” flicks, the tried and tested genre seemed done after Liam Neeson’s emergence as the preeminent star. Yet Keanu Reeves and Denzel made the genre popular once again thanks to John Wick and The Equalizer earning box office success. Sure enough, copycat films would follow the mold. Still, I would be lying if I thought Nobody, directed by Ilya Naishuller and starring Bob Odenkirk, would be joyously fun.
Hutch Mansell (Odenkirk) lives out a repetitive life in the suburbs at a seemingly dead-end job. Aside from his daughter (Paisley Cadorath), his family (Connie Nielsen & Gage Munroe) have little respect for him. Hutch’s boss and in-law (Michael Ironside) hesitates handing over the family business after a break-in makes Hutch appear weak. After visiting his father (Christopher Lloyd) and seeking out the people who staged the robbery, Hutch finds himself embroiled in a battle with the Russian mafia. Too bad the mob stumbled into the wrong guy.
Odenkirk’s career as both comedian and character actor makes him an unusual choice for Hutch at first glance. However, anyone familiar with his work on Better Call Saul knows of Odenkirk’s volcanic side awaiting any interaction. Few actors can balance a PTSD-riddled killer with the suburban dad aesthetic. Odenkirk excels at depicting duality, and the role of Hutch highlights his strengths. Nobody allows him to spit quippy dialogue, utilize a million-mile stare, and gruesomely murder anyone who stands in his way. Despite the controlled chaos, you never want to root against him.
Naishuller reigns in their exaggerated tendencies that were on display in Hardcore Henry from 2015. That film certainly had the action set pieces but that film is more experimental fancy than a gauge of Naishuller’s talents. If Nobody becomes his norm, you can expect a long career of films that trigger Antoine Fuqua’s ambitions, but execute at a slightly higher ceiling. He world builds with ease, creating a compelling alternate reality to our own. Very fast editing sets the pace, but it’s hard to argue the film is well-paced. After its first great set-piece on a bus, Nobody becomes a freight train. Until then, it’s a bit lackadaisical.
The cast varies in its usage and often focuses on Odenkirk’s strengths. He gets the clear top billing, and we rarely leave his side as a result. Nielsen finds herself relegated to the “wife is surprised” role, which feels disingenuous at times. After all, there are multiple moments throughout the film where she’s keyed into his business dealings with her family. It seems odd she did not pry into Odenkirk’s background. It’s a thankless role, especially given her presence as an Amazonian Queen in the Wonder Woman films.
Aleksey Serebryakov plays a fairly stereotypical Russian gangster. Yet he adds some flare to the role, due in part to his role as a nightclub owner/lounge lizard. He inhabits the physicality of a man who believes he can go legit before he backslides into his murderous nature. Perhaps the best roles, which amount to slightly elongated cameos, go to Lloyd and RZA. Both seem to relish silly line of dialogue while bringing much-needed zaniness to the party. Genre favorite Colin Salmon captures our attention for a few minutes as well, expanding the world of the film for potential sequels.
The action itself makes Nobody a strong rewatch candidate, even as you’re completing the first viewing. Without an A+ cast that often bails out lesser action flicks, Nobody sets itself apart with creative, if not familiar, set pieces. You love a movie that owns its genre trappings, and Nobody gives its characters highlight after highlight. It’s never a question of if, but a question of when the one-liner is going to come. Some visual flourishes are premised on violence. Like John Wick or Edge of Tomorrow, part of the fun is simply jumping on the ridiculous parts of the ride. As a film that is destined for the “HBO Rotation,” this one could become a cult classic quickly.
Despite all the genre fun, the atmosphere that Nobody releases into is impossible to ignore. As many action films before, you can argue that Nobody overly fetishes gunfights. There’s even a shot where the camera is attached to the barrel of a slow-motion handgun as it spins across the room. Nobody never pretends to be something it’s not, and that means there is a lot of blood on screen. More often than not, the film demonizes the actions of its characters. Yet those not in the mood for a shoot ‘em up should pass. When you are craving an adrenaline rush, please come back to this one.
Nobody will not reinvent the wheel. Yet the delivery of a fine-tuned, enjoyable action film can be hard to come by these days. Leaning into many tropes of the genre, it will feel familiar. Yet the warm blanket hug that Nobody gives you should win you over. Well shot, and featuring a surprisingly fun turn from Odenkirk, Nobody is an easy recommendation for anyone craving an action journey.
