Nobody Story :-
As sleek as a spilled blood and as determined as a meat grinder, “Nobody” propels us forward with a speed that blurs the absurdity of its plot and the moral ambiguity of its message. A rapid series of cuts introduces us to Hutch (Bob Odenkirk), a mild-mannered suburbanite whose monotonous days pass by in a blur of household chores and mundane office work. His wife (Connie Nielsen) and teenage son (Gage Munroe) regard him with a mix of pity, especially when he hesitates to defend against two hapless home invaders. While his son shows fearlessness, Hutch remains frozen.
Movie Ratings
| Release Date | 13 August 2021 |
| Language | English |
| Genre | Action, Crime, Drama |
| Duration | 1h 33min |
| Cast | Bob Odenkirk, RZA, Connie Nielsen, Aleksei Serebryakov, Christopher Lloyd |
| Director | Ilya Naishuller |
| Writer | Derek Kolstad |
| Cinematography | Pawel Pogorzelski |
| Music | David Buckley |
| Producer | Kelly McCormick, David Leitch, Braden Aftergood, Bob Odenkirk, Marc Provissiero |
| Production | 87North Productions, Eighty Two Films, Odenkirk Provissiero Entertainment, Perfect World Pictures |
| Certificate | 16+ |
A journey from emasculation to empowerment, “Nobody” hearkens back to the vigilante dramas of the 1970s and early 80s. Unlike the protagonists of those films, however, Hutch lacks a compelling justification for the violent spree he initiates and perpetuates. His family remains unharmed; it’s his wounded ego that drives his actions. Moreover, Hutch is not who he appears to be, with his secret past known only to his astute father (Christopher Lloyd) and adoptive brother (RZA). So when he unleashes his lethal skills on a bus full of Russian gangsters, his actions are as predictable as his eventual satisfaction. Despite emerging battered and bruised, Hutch’s calm demeanor suggests he relishes the damage he inflicts.
Stylish and confident, “Nobody,” penned by Derek Kolstad (the creative force behind the “John Wick” franchise), races from one confrontation to the next with effortless efficiency. Despite its questionable premise — that true masculinity lies in physical prowess — director Ilya Naishuller keeps the film moving briskly. The action sequences are seamlessly executed, the dialogue efficiently delivered, and Pawel Pogorzelski’s cinematography is agile and sharply focused. As the body count rises and Hutch becomes the target of a singing Russian mobster (played by the charismatic Alexey Serebryakov), the film weakly attempts to justify Hutch’s relentless brutality.
“I’m a good man, a family man,” he declares to an adversary. Yet, he is portrayed as a counterfeit ordinary man in a film openly disdainful of such individuals — a dormant assassin finally unleashed to satisfy his suppressed desires. The inclusion of Steve Lawrence and Eydie Gorme singing “I’ve Gotta Be Me” during Hutch’s transformation is hardly subtle. Now, Hutch feels alive; more importantly, he feels like a man.
