If you ever wanted to see Saul Goodman crack skulls like John Wick, well you’re in luck with Nobody, a perfectly enjoyable action movie that does little to separate itself from its influences. Bob Odenkirk has been on a wild ride of a career, beginning primarily as a writer and director of cult comedies and then turning into an award-nominated dramatic actor thanks to Breaking Bad and its spinoff, and now he gets his chance to try being an improbable action hero. Odenkirk plays a family man who freezes during a break-in. We think he’s a push-over, an office drone, a nobody, but he’s really nothing of the sort, and woe unto those who come after him for bloody vengeance. The plot is pretty thin and plays out very much like a combination of Joker and The Equalizer, even down to its final, explosive, booby trap-laden final act. Much like the John Wick series, the importance is heavily placed upon the action and stunt choreography. We’re here for the spectacle. While Nobody doesn’t rise to the dizzy action highs of the Wick franchise, it’s an above average action movie and has fun moments of unique style thanks to director Ilya Naishuller (Hardcore Henry). A fight scene aboard a bus is extensive and exhausting, leaving both parties gasping and bloody. Odenkirk’s character isn’t quite the impervious video game avatar that Keanu Reeves portrays; he’s rusty and limited, but by the time that climax comes rolling, he might as well be the Terminator. It’s not enough to disrupt the fun of the movie but the one area that could separate Nobody from the punchy pack just vanishes by the conclusion. The addition of Russian gangsters feels too cliche and unremarkable, as they just serve as a quick pipeline for bad guys to be abused. The addition of 83-year-old Christopher Lloyd as a sneakily formidable nursing home resident is much less cliche and much more enjoyable. If you’re looking for an action movie that packs a punch without taxing your brain, Nobody hits enough of the right buttons to suffice.
Nate’s Grade: B
In my lifetime, I’ve developed a fine taste for schlock cinema. I appreciate a jolly good bad movie that knows what it is. With that said, when you’re bad at being bad, then that’s a special case of bad, and such is the case of the hip-hop martial arts junk that is The Man with the Iron Fists. It looks like the kind of campy schlock I’d eat up, and with Russell Crowe as a murderous lascivious scoundrel to boot. The problem with this movie is that it has hip-hop artist RZA as a writer and director. It’s not horribly directed but RZA doesn’t have a firm grasp on action, relying too heavily on wires and spurts of graphic blood. But where the movie completely misfires is with a script that feels cobbled together with subplots belonging to other movies. There’s a basic vengeance storyline, but the first hour of this mess is awash in confusion with a flurry of characters and storylines that fail to coalesce. It feels like everything is just rattling around waiting to be given greater significance. It has a few memorable moments but just as many tacky eye-rollers, like Crowe pulling out anal beads with his teeth. The Man with the Iron Fists just feels so flat overall, lacking a jocular tone or a distinct personality that would have given it a little life. I appreciate the detail that RZA put into his violent world, but I’d appreciate it more if he worked harder at developing a clear story that also was engaging. For all its exploitation elements and fantastic characters, the ultimate sin of The Man with the Iron Fists is that it’s just too boring for too long.
Nate’s Grade: C-