Bob Odenkirk gives us a homebody samurai in Nobody
Sometimes you just want a brutality expert wrecking house and perforating faceless bad guys, and Nobody gives you that and then some. At ninety-one minutes, the movie embodies “lean and mean,” and it’s not about anything — it’s just an excuse to get our hero into as many ferocious encounters as possible. It’s the kind of pure cinema that traditionally gets little respect except from action-film fans, who have seen everything and just want to see it done well. Is it realistic? Gedoudda here. It’s a cartoon. But as directed by Ilya Naishuller (Hardcore Henry) and written by Derek Kolstad (the John Wick series), it’s made by people who know what they’re doing. When a baseline of competence is in place, there’s solid ground from which to jump, take flight, indulge in excess.
Perhaps best known these days for Breaking Bad and its spin-off Better Call Saul, Bob Odenkirk would seem, at the very least, cast against type here as Hutch Mansell, an apparently meek office drone crunching numbers in his father-in-law’s business. (Indication of the fun to come: dad-in-law is played by badass character actor Michael Ironside.) About half an hour into the movie — by which time we’ve seen Hutch refuse to meet a couple of home invaders with a violent response — we find out that Hutch used to do wetwork for “the three-letter agencies.” A tough guy in a tattoo parlor sees a tat on Hutch’s wrist and backs right down; he knows what that means. Soon, a group of goons threaten a young woman on a bus Hutch happens to be on, and we’re off to the races.
The fight choreography and bone-snapping editing give us a clear view of the carnage. Odenkirk trained for over two years to master Hutch’s lethal moves, and it shows. Is it easier to get a performance out of a nonactor but professional fighter (say, Steven Soderbergh’s Haywire) or to hire an actor and train them to fight? In this case, Odenkirk brings a resigned slouch to his pre-violent scenes as the retired hit-man turned family man (he has a wife, played by Connie Nielsen, and two kids). Hutch once thought he wanted the quiet life, but after some years away from the bloodshed he wants back in. He doesn’t really suffer any great tragedy to push him back into the fray. He’s just tired of, as the first song in the movie underlines, being misunderstood.
Hutch runs afoul of a Russian gang, led by casually vicious Aleksei Serebryakov. He could take them on alone, but where’s the fun in that? Hutch enlists the aid of two men whose identities I won’t spoil, and just the sight of them joining in the mayhem is boundlessly entertaining. Nobody made me deeply happy not in spite of but because of its dedication to gritty, grunting, gore-splattered climaxes. I liked the reasoning behind Hutch letting the two thieves go at the beginning: as someone well-acquainted with true evil, Hutch didn’t sniff it on these nitwits. Hutch’s wife and son, it turns out, don’t know him very well; they take him for a boring wimp. His little daughter on some level knows what he is; she feels safe with him.
Some fans are already agitating for sequels, or a crossover set in the John Wick-verse. I say let Hutch (and Odenkirk, who’s 58 and probably doesn’t have many more Nobodys in him physically, though I have no doubt he could still kick my ass) stroll off into the sunset and take pride in a job well done. Not everything has to be a franchise. As it is, this plays like the sort of outstanding but obscure action tape you used to find on the bottom shelf in a mom-’n’-pop video store, a fierce one-and-done. Its story is complete. Hutch came back once; he doesn’t need to keep coming back. By its very energy and happy ingenuity, Nobody argues pretty persuasively for Hutch’s violent past, at least as the subject of a solar-plexus-punching B movie. It’d be depressing in real life. And the other side of Odenkirk’s phenomenal performance is that Hutch, we sense, knows just how depressing. Odenkirk shows us the contradiction of the samurai, many of whom were also Buddhist. Also there’s a dude who gets chest-bumped with a fucking Claymore.