Nobody 2

The big draw of 2021’s Nobody was Bob Odenkirk breaking bad: the former sketch comedian and Better Call Saul star playing against type as a grizzled, ruthless killer you really don’t want to piss off. And even though that novelty is long gone, the same holds true for the undemanding but diverting Timo Tjahjanto-directed sequel.

The added familial focus this time around is a welcome switch up, as is the change in scenery. Tjahjanto leans into the summer-break vibes at every turn as Hutch (Odenkirk) is desperate to “make memories” with his family at Plummerville, one of the few places he had fun growing up. The plan seems to be working until, in typical Hutch fashion, an incident at an arcade rapidly escalates.

The action helps to smooth over some of the ineffectual storytelling.

It’s a strong starting point, but the evolution of relationship dynamics in Derek Kolstad and Aaron Rabin’s screenplay is disappointingly shallow. A recurring theme about sons being better men than their fathers ends up being little more than a platitude, resolved with the minimum amount of fuss. Meanwhile, Hutch’s wife Becca (a returning Connie Nielsen) is understandably upset at her other half’s inability to keep his promises and rage issues in check — until she isn’t.

Thankfully, the action helps to smooth over some of the ineffectual storytelling. While nothing hits the highs of the buzzy bus sequence in the first movie, Tjahjanto – a skilled and seasoned director of Indonesian cinema – does a good job of giving each set-piece its own distinct flavour. On more than one occasion he’s happy to let the sounds of the battle linger before the camera catches up to the carnage – a gambit that pays dividends – and generally, the decision to sacrifice grit for colour works well.

It all culminates in a final-act showdown at a funfair that’s just the right amount of silly escapism, with Christopher Lloyd, an underused RZA, and even Nielsen getting to join in on the fun too. The villain is somewhat less successful: after a great introductory sequence, Sharon Stone’s Lendina is less a cohesive role, more a random collection of tics thrown together that don’t really gel into a satisfying whole. She also doesn’t share nearly enough scenes with Hutch, which somewhat lessens her impact. Still, Odenkirk’s wry, world-weary action hero remains a compelling presence throughout. He’s a somebody that’s worth your time.