Regie:
Ilya NayshullerDrehbuch:
Derek KolstadKamera:
Pawel PogorzelskiMusik:
David BuckleyBesetzung:
Bob Odenkirk, Aleksey Serebryakov, Connie Nielsen, Christopher Lloyd, Michael Ironside, Colin Salmon, RZA, Billy MacLellan, Araya Mengesha, Gage Munroe (mehr)Streaming (5)
Inhalte(1)
Hutch Mansell ist ein typischer Niemand, den keiner so richtig wahrnimmt. Wortlos erträgt der Ehemann und Vater die Demütigungen seines Alltags, ohne sich dagegen zu wehren. Selbst als eines Nachts zwei Unbekannte in sein Vorstadtzuhause einbrechen, weigert er sich, seine Familie zu verteidigen, um eine Eskalation zu verhindern. Davon ist sein jugendlicher Sohn Blake (Gage Munroe) schwer enttäuscht, und auch seine Frau Becca (Connie Nielsen) entfernt sich in der Folge nur noch mehr von ihm. Doch tatsächlich ist dieser Vorfall der Tropfen, der das Fass mit Hutchs lange brütender Wut zum Überlaufen bringt – dunkle Geheimnisse kommen zum Vorschein und wecken seine tödlichen Instinkte. Plötzlich begibt sich der unscheinbare Hutch auf einen brutalen Feldzug, um seine Familie vor einem gefährlichen Gegenspieler zu retten (Alexei Serebrjakow) – unterschätze niemals einen NOBODY. (Universal Pictures AT)
(mehr)Kritiken (14)
Das Konzept eines Actionhelden, der sich hinter der Fassade eines gewöhnlichen Vaters aus der Vorstadt versteckt, ist ein angenehmer Anfang des Films. Er ist dynamisch und geschmackvoll unterhaltsam, er hat einfallsreiche Actionszenen (z. B. die Fahrt im Kofferraum) und einen frischen Schnitt. Wegen der mechanischen, einfachen und einfallslosen Vergeltung muss ich aber meine Bewertung der ursprünglich ausgezeichneten Unterhaltung auf drei Sterne reduzieren. Am Anfang wird der Protagonist geschlagen. Einen Helden hat aus ihm sein Durchhaltevermögen gemacht. Am Ende springt ihm eine große Gruppe von bewaffneten Gaunern so ähnlich wie in Deadpool aufs Korn. Der Genre-Konkurrent Boss Level hat mir als Ganzes um einen halben Stern besser gefallen.
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Derek Kolstad hat in Word sein paar Jahre altes Drehbuch für einen John Wick geöffnet, alle Wörter "John Wick" wurden systematisch in "Bob Odenkirk" umgeschrieben, hin und wieder etwas abgeschnitten/angepasst und siehe da, das neue Drehbuch war sofort da! Ich glaube wirklich nicht, dass er mehr Aufwand betrieben hat. Verstehet mich nicht falsch, es ist wirklich stilvoll umgesetzt, schön anzusehen und die dynamische Regie von Bob Odenkirk, RZA und vor allem dem 82-jährigen Christopher Lloyd (!) war unglaublich cool, aber dieses selbstreferenzielle Recycling war wirklich eine Ohrfeige und hat den ganzen Film ziemlich untergraben.
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Ich erinnere mich noch lebhaft daran, wie ich vor x Jahren im Kino war, um Hardcore anzuschauen, der mit seinen Bildern und seinem Grad an Gewalt sicherlich nicht in der Flut der Actionfilme unterging. Najšullers nächster Film, Nobody, reitet auf einer ähnlichen Welle von Gewalt und Action, nur dass der Zuschauer die Geschichte aus einer vertrauten Perspektive (der des "abwesenden" Kameramanns) betrachtet. Da Nobody in erster Linie ein Actionthriller sein will, geraten die eigentliche Geschichte und die Sequenzen zwischen den Szenen ziemlich in Vergessenheit - zumindest kam es mir so vor (Hutch geht auf seine brutale "Spritztour", aber - warum?). Ich hatte gemischte Gefühle bei der Besetzung von Christopher Lloyd - er ist ein wirklich vitaler alter Mann für sein Alter, aber das Drehbuch machte seine Figur einfach zum Gespött. Gerade so, um den Film einmal zu sehen, aber nicht mehr!
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The simplicity and directness of the 1980s, the audiovisual drive of twenty-first century action flicks and the most unlikely action hero ever. But above all, the enormous enthusiasm that literally oozes from the film. Ilya Nayshuller delivers a more classically conceived action film this time, but Nobody had me smiling with satisfaction from start to finish. Bob Odenkirk shines, whether in a loser or killer mode, and gives it his all. The story doesn't shy away from its simplicity and thanks to the short running time you don't even think about it too much, and the director isn't afraid to pepper it with enjoyable dark humour or slightly bizarre moments. And even the cheesy bad guy can be as scary as he is funny. Then there's the imaginative, perfectly paced, bloody and cleverly devised action. I was a little worried that Nobody would want to follow in the footsteps of John Wick, but director-producer David Leitch and his team ended up going in a slightly different direction and betting on action that's more bloody, painful, and ugly. In terms of inventiveness, Nobody keeps up with Wick, but it goes in a slightly different direction and it’s nice to see that it's not just a rip-off with an unexpected star, but a confident and, for all intents and purposes, well-functioning action romp. I enjoyed it immensely.
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An awesome, intense action flick that puts Bob Odenkirk in a role I never saw coming. It's uncompromising and punchy. Ilya Naishuller knows how to make a fun action movie.
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“Give me the goddamn kitty cat bracelet, motherfucker!” This magnificent action masterpiece that flips the finger to all the trashy action movies and hated entities that will suffer and sigh about how little dramatic, emotional, and philosophical its. I suffered through those boring artsy dramas for over a year, so fucking finally it's my turn for satisfaction, and I've reached more peaks than a horny nymphomaniac. Nobody takes the best from Taken, The Equalizer, and John Wick, and even though it borrows a few ideas, it upgrades, evolves and transforms them to a much bigger and more intense level, and it's an absolute gem in every way. Bob Odenkirk, at 58 years old, as a family man, shows that he has bigger balls than the entire Russian mafia. He trained intensely for two years, learned martial arts, worked like crazy for the role of an action hero, and you can fucking see it. He's a splendid and charismatic badass hero with a mysterious past that demands respect and nobody wants anything to do with him. He delivers great lines, is very convincing in action, very resourceful, intelligent, and you can see that he's still just a human, so he gets his ass kicked as well, he feels fatigue, vulnerability, and exhaustion. A precise technical aspect, a perfectly fitting soundtrack, honest old-school craftsmanship with well-utilized R-rated action, lots of great and funny ideas, the insertion of exaggeration into action scenes works absolutely perfectly, and there are several moments that I feel like replaying immediately. The grandpa is excellent, and his messing around with a pistol and a shotgun is awesome. The fight on the bus is properly tough and uncompromising, the shootout in the house is atmospherically intense, and the finale in the warehouse literally shatters your balls – I purred with pleasure like I haven't in a long time. (Putting the sniper rifle on the shoulder, firing and instantly knocking out the other guy with the recoil just blew me away). I also liked the Russian villain, and the action and the story itself are definitely above standard. If an action fan doesn't appreciate Nobody, they might as well commit seppuku or find another hobby. American cinema won't make a better action movie. After watching, of course, sweaty like Usain Bolt running the 100 meters, and that's how I like it! I hope for a sequel already in theaters and preferably with Naishuller collaborating with Evans and Stahelski. 10/10.
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In recent years, we have become accustomed to the fact that only a handful of stalwart though unfortunately aging stars led by Tom Cruise, Keanu Reeves and Scot Adkins consistently bring us awe-inspiring, pure-blooded action spectacles across all budget categories. Fortunately, the franchise core of blockbuster production lies in their escapades and, mainly, in the financial results tied to them. After a pause caused by the fascination with the possibilities of computer animation, the action genre regained its appreciation for the artificially inimitable dimension of physical attractions and began to employ the main talents of the stunt trade. Thanks to that, a group of stuntmen and choreographers associated under the name 87Eleven were able, after years of contract work, to develop into an independent production company, 87North Productions, and start implementing their own projects, while also drawing in other significant creative talents. Directed by Ilya Naishuller, who stunned fans of the genre with his debut feature Hardcore Henry five years earlier, Nobody is the first film to leave the 87North nest, while ten other projects in various stages of development are set to follow it. Though the film is based on 87Eleven’s concept of craftsmanship, built on the hard training of actors and the perfect symbiosis of choreography with its formalistic transference into film, which has become the basis of the group’s flagship foreign productions (the John Wick and Atomic Blonde franchises), it also shows that it can be applied to different forms of the genre, new stories and different actors. Though corresponding to John Wick, the core of the premise involving a former expert in killing being called back into action by a disruption in his orderly civilian life and the principle of gradual worldbuilding are given a completely original treatment thanks to the involvement of the outstanding character actor Bob Odenkirk. His personality is based on the amusingly conceived contrast between his civilian facade and his wild past, or rather the skills that he acquired then. The essential motif is midlife or rather later-life crisis, when men are not only emasculated by monotonous work and marriages mired in the mundane, but mainly cease to be heroes for their children. Nobody develops this motif into a sort of mix of the less exaggerated True Lies and the purely fantastical, i.e. a non-subversive and safely staid Fight Club for aging dads. In the context of both Atomic Blonde and the aforementioned True Lies, it's regrettable that the filmmakers decided to strictly adhere to the worn-out macho storyline instead of involving the protagonist’s wife in the action (which, incidentally, was unintentionally promised by one of the dialogue scenes). Nevertheless, the film puts the omission of exaggeration and choice of an egocentric narrative line to good use in the style of action and its connection to the character of the protagonist, who becomes a psychotically hedonistic antithesis to John Wick’s refinement. Related to this is the fact that an essential role is played not only by how he delivers blows, but also by how many he dishes out and takes himself. Nobody is definitely not the best contribution to the action genre, but it is certainly flawless and, mainly, raises high hopes for the genre’s future.
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A rugged action flick with a great Odenkirk. Nobody has no ambitions to impress with the script, Najšuller serves up brutal, grubby action, carried out by a scruffy old wreck beaten down by family life.
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A John Wick alternative with a seemingly goofy plot and without the sometimes complicated kung fu combos. While there's no shortage of fine characters and a fast pace with a very simple script, the second half is merely a clichéd countdown of level-up situations, including the over-the-top finale. By around the halfway mark, the film was set to be an absolute smash, because the bus brawl will belong in the showcase of action films, just like the stairs scene in Atomic Blonde. This guy from Russia could be big in some time.
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Like Liam Neeson in 2008, another great actor has become an absolutely believable action hero, and someone that we did not expect it from. And Nobody benefits from how great an actor Bob Odenkirk is, just like from the action scenes directed by Ilya Naishuller. We are interested in Hutch's gradually uncovered past, we are interested in how much his loved ones actually know about him, and at the same time we are having fun with scenes such as the huge brawl in the bus, which reminds us that even such heroes get hit. Along with all this we get humor to lighten it up at the right moments, a great song soundtrack, Christopher Lloyd... Although, unlike John Wick, I don't want a sequel all that much, Nobody is still a great film.
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If you see Nobody and Naishuller's previous Russian pogrom Hardcore Henry on the same day, you'd almost think Ilya had farted a bit. Understandably, though, that's because this young directorial hopeful mainly had to show that he could make a film beyond gimmickry, with characters that were more than just amusing caricatures. While I don't know if it was very successful, but in a genre now dominated by overstylized John Wick spectacles, Atomic Blonde, and Gareth Edwards massacres, we could probably hold that bar a little closer to the ground. But it's a fact that nobody came here for character nitpicking, so let's stop worrying about the film (a dumbed-down mid-life crisis in which Kolstat managed to sell the same script a second time, doctored it with all sorts of picked-over heists from True Lies to The Equalizer, all in the name of small-town values) and address the action scenes. While what I remember most from the film is the awesome one-shot in which the antagonist walks into a bar, still I have to admire in particular the imaginative and joyful disposal of the poor and virtually mentally incompetent bad guys. Perhaps the blood is digital and the night scenes often don't look like they're set on planet Earth, yet most of the fatalities can still be enjoyed with fulfilling relish and the fifty-seven-year-old Odenkirk is simply believable. In the context of a TV movie (as we should approach a VOD production), a nice lunch break that will be fine for talking to your mates about how record companies should make the rights to use songs they own more expensive again, because this movie à la jukebox thing is becoming quite an annoying trend.
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If you prefer art films and find explicit violence off-putting, steer clear of this movie. I have no idea if the filmmakers were serious or just wanted to have fun shooting a good old action movie, but I was royally entertained. I did enjoy the film throughout, I just won't give it a five because it smacked too much of Home Alone at times.
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I was expecting a slightly more polished film from Ilya Naishuller, but that doesn’t change the fact that Nobody is one of the better films in its genre. Most people probably know Bob Odenkirk from TV series like Breaking Bad and Better Call Saul, so it’s nice to see him in something different. I believed him as a family man; that civilian aspect was perfectly fine. As for the action (which is the main draw of the film), it was mostly inventive and choreographically quite close to the top competition (the fights in the bus or the house are shining examples). The role of the antagonist is played by a Russian villain again (perhaps it’s time for a change), and while his performance was decent, it didn’t come close to Csokas from The Equalizer. And here lies, in my opinion, the main problem with the film that keeps it from reaching the metaphorical pedestal. Everything is done well (except for the over-the-top ending, which, while spectacular, was overly complicated; the similar ending at the Bauhaus in The Equalizer was better), but it doesn’t offer much innovation. Derek Kolstad copies himself a lot, especially from John Wick. I definitely recommend the film, but it’s of lower quality compared to John Wick, Atomic Blonde, or the mentioned Equalizer. A weaker four stars. 7/10
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A laconic rip-off of John Wick that doesn't stray too far and serves up an ultra-banal plot with supremely entertaining and fast-paced execution. The wank of an opening, with its frantically edited shots of daily routines, is a bit superficial but still freaking cool. What dwarves everything else here is the work with the music. Armstrong's What a Wonderful World has never sounded better, and the whole money-burning sequence is one of the highlights of the entire film. Bob Odenkirk, at the age of 58, has matched his Saul Goodman with another iconic and by now probably unforgettable role. "You brought a lot of shotguns. --- You brought a lot of Russians." [80%]
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