Ｍｒ．ノーバディ
Directed by:
Ilya NayshullerScreenplay:
Derek KolstadCinematography:
Pawel PogorzelskiComposer:
David BuckleyCast:
Bob Odenkirk, Aleksey Serebryakov, Connie Nielsen, Christopher Lloyd, Michael Ironside, Colin Salmon, RZA, Billy MacLellan, Araya Mengesha, Gage Munroe (more)VOD (1)
Plots(1)
Sometimes the man you don’t notice is the most dangerous of all. When two thieves break into his suburban home one night, Hutch declines to defend himself or his family, hoping to prevent serious violence. His teenage son, Blake (Gage Munroe), is disappointed in him and his wife, Becca (Connie Nielsen), seems to pull only further away. The aftermath of the incident strikes a match to Hutch’s long-simmering rage, triggering dormant instincts and propelling him on a brutal path that will surface dark secrets and lethal skills. In a barrage of fists, gunfire and squealing tires, Hutch must save his family from a dangerous adversary (Aleksey Serebryakov)-and ensure that he will never be underestimated as a nobody again. (Universal Pictures CA)
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Reviews (12)
Derek Kolstad opened his few years old screenplay for John Wick in Microsoft Word, went through it and replaced every instance of the name “John Wick'' with "Bob Odenkirk", chopped out/adjusted/adapted a few things here and there, and suddenly a new screenplay was born! I really cannot believe he did not put in some more effort! However, it is really stylishly shot, it draws you in visually, and the carnage and havoc wreaked by the trio of Bob Odenkirk, RZA, and especially the eighty-two-year-old Christopher Lloyd (!) is dynamic and just incredibly cool, however, the recycling of the screenplay itself was a real slap in the face and really undermined the entire experience.
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If you prefer art films and find explicit violence off-putting, steer clear of this movie. I have no idea if the filmmakers were serious or just wanted to have fun shooting a good old action movie, but I was royally entertained. I did enjoy the film throughout, I just won't give it a five because it smacked too much of Home Alone at times.
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Like Liam Neeson in 2008, another great actor has become an absolutely believable action hero, and someone that we did not expect it from. And Nobody benefits from how great an actor Bob Odenkirk is, just like from the action scenes directed by Ilya Naishuller. We are interested in Hutch's gradually uncovered past, we are interested in how much his loved ones actually know about him, and at the same time we are having fun with scenes such as the huge brawl in the bus, which reminds us that even such heroes get hit. Along with all this we get humor to lighten it up at the right moments, a great song soundtrack, Christopher Lloyd... Although, unlike John Wick, I don't want a sequel all that much, Nobody is still a great film.
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In recent years, we have become accustomed to the fact that only a handful of stalwart though unfortunately aging stars led by Tom Cruise, Keanu Reeves and Scot Adkins consistently bring us awe-inspiring, pure-blooded action spectacles across all budget categories. Fortunately, the franchise core of blockbuster production lies in their escapades and, mainly, in the financial results tied to them. After a pause caused by the fascination with the possibilities of computer animation, the action genre regained its appreciation for the artificially inimitable dimension of physical attractions and began to employ the main talents of the stunt trade. Thanks to that, a group of stuntmen and choreographers associated under the name 87Eleven were able, after years of contract work, to develop into an independent production company, 87North Productions, and start implementing their own projects, while also drawing in other significant creative talents. Directed by Ilya Naishuller, who stunned fans of the genre with his debut feature Hardcore Henry five years earlier, Nobody is the first film to leave the 87North nest, while ten other projects in various stages of development are set to follow it. Though the film is based on 87Eleven’s concept of craftsmanship, built on the hard training of actors and the perfect symbiosis of choreography with its formalistic transference into film, which has become the basis of the group’s flagship foreign productions (the John Wick and Atomic Blonde franchises), it also shows that it can be applied to different forms of the genre, new stories and different actors. Though corresponding to John Wick, the core of the premise involving a former expert in killing being called back into action by a disruption in his orderly civilian life and the principle of gradual worldbuilding are given a completely original treatment thanks to the involvement of the outstanding character actor Bob Odenkirk. His personality is based on the amusingly conceived contrast between his civilian facade and his wild past, or rather the skills that he acquired then. The essential motif is midlife or rather later-life crisis, when men are not only emasculated by monotonous work and marriages mired in the mundane, but mainly cease to be heroes for their children. Nobody develops this motif into a sort of mix of the less exaggerated True Lies and the purely fantastical, i.e. a non-subversive and safely staid Fight Club for aging dads. In the context of both Atomic Blonde and the aforementioned True Lies, it's regrettable that the filmmakers decided to strictly adhere to the worn-out macho storyline instead of involving the protagonist’s wife in the action (which, incidentally, was unintentionally promised by one of the dialogue scenes). Nevertheless, the film puts the omission of exaggeration and choice of an egocentric narrative line to good use in the style of action and its connection to the character of the protagonist, who becomes a psychotically hedonistic antithesis to John Wick’s refinement. Related to this is the fact that an essential role is played not only by how he delivers blows, but also by how many he dishes out and takes himself. Nobody is definitely not the best contribution to the action genre, but it is certainly flawless and, mainly, raises high hopes for the genre’s future.
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If you see Nobody and Naishuller's previous Russian pogrom Hardcore Henry on the same day, you'd almost think Ilya had farted a bit. Understandably, though, that's because this young directorial hopeful mainly had to show that he could make a film beyond gimmickry, with characters that were more than just amusing caricatures. While I don't know if it was very successful, but in a genre now dominated by overstylized John Wick spectacles, Atomic Blonde, and Gareth Edwards massacres, we could probably hold that bar a little closer to the ground. But it's a fact that nobody came here for character nitpicking, so let's stop worrying about the film (a dumbed-down mid-life crisis in which Kolstat managed to sell the same script a second time, doctored it with all sorts of picked-over heists from True Lies to The Equalizer, all in the name of small-town values) and address the action scenes. While what I remember most from the film is the awesome one-shot in which the antagonist walks into a bar, still I have to admire in particular the imaginative and joyful disposal of the poor and virtually mentally incompetent bad guys. Perhaps the blood is digital and the night scenes often don't look like they're set on planet Earth, yet most of the fatalities can still be enjoyed with fulfilling relish and the fifty-seven-year-old Odenkirk is simply believable. In the context of a TV movie (as we should approach a VOD production), a nice lunch break that will be fine for talking to your mates about how record companies should make the rights to use songs they own more expensive again, because this movie à la jukebox thing is becoming quite an annoying trend.
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