Nobody ★★☆☆☆

You’d think after a decade of playing the morally gray lawyer Saul Goodman, Bob Odenkirk would be content with legal shenanigans. But no, in Nobody, he trades legal briefs for brass knuckles—and not in the metaphorical sense. Unfortunately, this suburban-dad-turns-vengeful-killer flick feels less like an adrenaline rush and more like a midlife crisis masquerading as a John Wick fever dream.

The film follows Hutch Mansell, a seemingly milquetoast family man who spends his days missing the garbage truck and letting burglars ransack his home—because, you know, he’s trying to keep the peace. But surprise! Hutch isn’t just a frustrated dad; he’s a former government assassin whose bloodlust has been in retirement, much like his dignity. One bus fight with drunk Russians later, and Hutch is back on his murder spree—because nothing rekindles your zest for life quite like smashing bones on public transportation. And by the way, one of those Russians? Yeah, his brother just happens to be a mob boss. Cue the inevitable cascade of Russian goons, slow-motion action scenes, and carnage set to ironically cheerful music.

The problem is, we’ve seen all of this before. If Nobody feels like John Wick with a dad bod, that’s because it’s written by Derek Kolstad, the mastermind behind the John Wick franchise. But instead of the sleek world-building and mythical aura of Wick’s universe, Nobody opts for a bland suburban backdrop and a half-baked family drama that feels as forced as Hutch’s reconciliation with his wife. Connie Nielsen, as the wife, does little more than glance at Hutch as if to say, “Who is this man?”—and honestly, we’re wondering the same thing.

Visually, the film does offer a few impressive set pieces. The bus brawl, in particular, is a brutal ballet of broken bones and shattered glass, a testament to Odenkirk’s commitment to the role. But after the third or fourth elaborately choreographed fight scene, the ultraviolence becomes numbing, like watching someone repeatedly step on Legos just for kicks.

The film’s biggest flaw, however, is its tonal confusion. Is it a satire of the action genre or an earnest entry into it? We’re given hints of Hutch’s internal struggle—his desperation to break free from his mundane life—but the film never delves into it. Instead, it shrugs off introspection for more explosions, making the character arc as hollow as a bullet casing. And speaking of bullets, you’ll never actually worry about Hutch or his family, because the stakes feel about as high as a nerf gun fight.

If you’re here for mindless action and Bob Odenkirk punching his way through a midlife crisis, then sure, Nobody might scratch that itch. But if you’re hoping for depth, narrative cohesion, or anything resembling emotional stakes, you’re better off rewatching John Wick… or even just an action-packed episode of Breaking Bad.

Nobody is the cinematic equivalent of a dad buying a motorcycle—momentarily fun, but you’re left wondering if the payoff was worth all the noise.