![]() Old standards like “Heartbreaker”, “Feel So Good”, What a Wonderful World”, “Let the Good Times Roll”, “Straighten Up and Fly Right” and more all give their moments used an ironic twist. I don’t really remember that many moments of actual score, that honor goes to the fantasticlyrical music choices. The score really knew when to keep quiet at points and let the action run. Fire, explosions, and gunfire are all here, though the gunfire seems fake at points. The film plays with its budget, sometimes not showing action in favor of the aftermath, saving those big moments for when it really needs them. When punches connect, you feel them connect, especially in the bus fight scene. Fight choreography is on point, shifting action set pieces from foreground and background in the blink of an eye. ![]() The effects are where this film finally does right. The long, expository speeches are solid and well-written, yet the casual dialogue has something missing. A lot of it is slow and plodding, going for dramatic, while some comedic moments just miss the mark, having a beat too long between joke and punchline. While the scripts holds itself together, the dialogue leaves something to be desired. He’s a good villain, but not a great one. He’s just so earnest and heartfelt about his karaoke even though he can’t really sing. He is a pretty run-of-the-mill villain, though his introduction is one of the best parts of the film. ![]() He enjoys fine art, karaoke, and making a point by disfiguring others. Yulien Kuznetsov (Alexey Serebryakov) is the antagonist, presented differently than most Russian Mobsters. As their screentime dwindled, I found myself wondering if they were even needed in the film as much as they already were. They don’t do all that much except add to the stress Hutch is under, and to give him someone to protect. His character isn’t as connected to the story as I would have wanted, and he most likely would have been cut out in another film.īecca (Connie Nielsen), Brady (Gage Munroe), and Sammy Mansell (Paisley Cadorath) are the pathos of the film. He’s also one of the few black actors in the film, all three of which have small parts, and all could have ben fleshed out more. While we do ‘hear’ him for a lot of the runtime, his presence isn’t actually seen until the last act. Harry Mansell (RZA) has somewhat of a bit part worth mentioning. He’s a delight to see onscreen once again. His facial expressions crack me up (even when they’re plain). While yes, there are some points where he shows his age poorly, he’s still a gun-barrel of fun. He was the tipping point for me watching this film, and he delivered. I personally connected with the actor more than the character, as I knew him from other projects.ĭavid Mansell (Christopher Lloyd) is like seeing an old friend. He pulls off the action scenes well, taking and giving hits like a champ, but we’re never truly meant to connect with the character. Odenkirk brings a ‘detached’ aura to the character, leaving the audience to question what his true motives are. Hutch (Bob Odenkirk) – Inescapable from his Saul Goodman role, Hutch is somewhat similar to Slippin’ Jimmy in “Better Call Saul.” He’s just a guy looking to do what’s right while battling his inner demons. I just wish the directors and writers trusted the audience more instead of spoon-feeding them. Sure, there are some fun moments that switched up expectations, but by the end it became predictable. Nevertheless, it’s all pretty rote, and painfully so. Hutch and his family’s past could have been a film all it’s own, but instead of the exciting forward, we get a middling afterward. The core of the film is family, but not the type of family one would first think, adding a nice wrinkle to the plot. The rest is either intense, heated conversation, or Hutch’s family downtime. Most of the film is taken up by some well-choreographed action scenes. Small snippets of his previous life are slowly given, letting the audience piece together his killer past… At least, until the end of the film, where the backstory is handed to the audience through clunky exposition. It slowly reels the viewer into the story through some long visual exposition on Hutch’s life using tiny bursts of his day-to-day. However, it paints a picture dissimilar from most. “Nobody” doesn’t really deviate much from the standard action flick.
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