Nobody ★★★★★


Pure uncut dad-rock. This is bursting at the seams with boomer/gen-x needle-drops, wallowing ultraviolence within absurd comedic set-pieces, and a fetishization of tactility, from the destruction of the human body to weaponry to vinyl and cassette tapes. After a boring lifestyle of a cushy 9-to-5, Bob Odenkirk's Hutch Mansell finally gets an excuse to get back to his old self after an attempted burglary at his home. And that self is, of course, a total killing-machine. The action here is different than the John Wick series in spite of Nobody being written by Derek Kolstad, and it's clearly due to director Ilya Naishuller, who was responsible for the FPS vehicle Hardcore Henry. Don't worry, this is about as crisp and clean and traditional as a modern action film can be. No first-person view here. It's less robotic and tactical than the Keanu films, and it's not necessarily interested in overt mythology but instead an overreaction of personal vengeance. Nobody is vile and focused, above all.

Whereas the catalyst for John Wick's revenge is built to inspire sympathy, this is clearly less morally sound. Mostly this is just about a guy who misses his old job as a sanctioned murderer, and he comes back with a fury to fight against the Russian mob. The set-pieces here are all-time examples of laser-focused brutality. Every punch, cut, stab, and neck break is given emphasis, and the movement, while not as balletic as the John Wicks, is primarily shot to convey the messy physicality of the violence. Make no mistake, this is catnip to me, and it may vary for others, but if you don't want to see Bob Odenkirk wield a variety of weapons against faceless cronies, there's no saving you.

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