Since “The shadow of a doubt” (Hitchcock, 1943), the cinema – and later the series – have never ceased to reproduce the same pattern that has become a reference: to show how evil is disseminated even in the most innocent homes and even in the most peaceful regions. Of “blue-velvet“(Lynch, 1986) to”A History of Violence” (Cronenberg, 2005) via “Desperate Housewives“ (Marc Cherry, 2004-2012), the list of works using this model would be long to list. Like Tom Stall in “A History of Violence“, Hutch Mansell in “nobody” is therefore a father with a peacefully quiet life, not to say monotonous and alienating. But the violence that the protagonist hides behind appearances and his frustration ends up suddenly coming to the surface one day, following of a burglary at his home. Gone is the finished loser, his insipid family life and his monotonous job, Hutch Mansell soon comes to light. Because in another life, the latter was nothing less than a kind of eraser, indestructible mercenary…
Two questions come to mind at first glance with “nobody“. The first: what the hell is Bob Odenkirk, the cult performer (in particular) of “breaking Bad” and “Better Call Saul“, in this story of big arms that we sense in the brainless wake of “Taken“? The second: is “nobody” is really similar to revenge movie lower forehead that he claims to be? All it takes is a first fight (of anthology) in a bus to clear up the vagueness: this second feature film by Ilya Naishuller is a parody and does not take itself seriously at all (or very little). That turns out well : true to himself, actor Bob Odenkirk still excels in terms of derision, and reserves here a festival of jubilant suppressed anger. In fact, the confrontations even flirt with the delirious vein of a “Kingsman: Secret Service“. The pitch replays the pretense card: a man who seems to have been a complete failure turns out to have lethal skills as unsuspected as they are formidable.
Without ever playing psychology or looking for any finesse, “nobody” makes all imaginable stereotypes its own to better deconstruct them through laughter and excess. The humor is in this always bolder than black, even if the feature film also wants to be implicit, in spite of itself perhaps, a sort of eulogy to rediscovered virility. Because that’s what it’s all about in “nobody“: prove to his family and to the world that a superhero secretly slumbers beneath mediocrity and is just waiting for a signal to come out of retirement. In this niche, the film is clearly not in lace or in subtlety.His apology for self-righteousness and his brutality are also likely to make cringe or annoy some finicky spectators, or on the contrary to rally the aficionados of Chuck Norris.
But once these few limits are stated, “nobody“reserves a festival of idiocy and quite pleasing fluff, served by a rather successful, if not mastered, staging and by often breathtaking choreographies. Regressive, even hilarious, the show combines an assumed violence, under the sign of the sulphate, with a hilarious assurance. We often think of the recipe for a “John Wick” but with a more uninhibited craftiness. If the film will certainly not mark the history of the seventh art, its communicative frenzy, Dantesque for example in the final sequence alongside Christopher Lloyd and even RZA (the father of the Wu-Tang Clan ), he puts a broad smile on the viewer’s face. (“hardcore henry“, 2016), turns into an authentic filmmaker?
“nobody” is available on Canal + in SVOD.