The Reel Rejects - NOBODY (2021) Movie Review - First Time Watching!!

Episode Date: April 6, 2022

Finally, after more than a year of anticipation, we sat down to watch the Bob Odenkirk actioner, NOBODY, from JOHN WICK writer, Derek Kolstad, and HARDCORE HENRY director Ilya Naishuller - and it DID NOT DISAPPOINT! This is the credits talk & review portion from our recent reaction/watch along for the film. Reaction Highlights are available on YouTube & Full Length (Sync-Up) Stream Along at Patreon.com/thereelrejects ENJOY!! Learn more about your ad choices. Visit megaphone.fm/adchoices --- Support this podcast: https://podcasters.spotify.com/pod/show/the-reel-rejects/support Learn more about your ad choices. Visit megaphone.fm/adchoices

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What's happening there? Podcast listeners of the real rejects. Yeah, you're used to seeing our faces. Not today. Not today. Screw faces. People are strange. When you're a stranger.

We're trying to get into the music side of Spotify, but definitely. They think that John's guitar skills are not good enough. Guys, we're going to watch the movie. Nobody. We're about to watch nobody starting. Bob Odenkirk from that scene in the disaster artist and the director

of hardcore Henry and the writer of John Wick this is a movie really been wanting to watch for a long, long time. We saved it just for you guys. But if it's not Marvel, we go this can wait a few years.

Yes, always. And now we're finally getting around to this. A few years have come and it's time. watched three to four movies a year and now it's going to do nobody tent pole, Marvel, and or other big franchise movies. We don't mention those here on the podcast. I saw

a cinema movie a couple weeks ago. It was crazy. Yeah. It wasn't as crazy as nobody. Didn't understand it without an origin tale. Yeah. Just doing it. And a whole slew of comics. So, yeah, and I've heard nothing but good things about this film. It's a wild ride. And we're going

to review it right after. And, if I'm being totally honest with you, we already filmed it. This is a retroactive intro. We're just pretending like we're about to watch the movie. We already know how we filmed. I think, though, if it might become weird, like, okay, you're doing a podcast review. I mean, is nobody worthy of it? I think so, because I think we have a little bit of a different take.

Very positive, but a different take that explores the nuances of the action comedy. Cool, cool fights. Cool fights In the movie, cool fights They've got people punching The reviews sucks without any visual illustrations to back it up No, no, no, I think it would be worth it

So we have a little discussion during the credits We're going to have an awkward cutout of the post-credit scene part Okay, yeah We don't even talk about it, we don't need it And then, yeah, then the review But thanks guys for being here Enjoy your time here Roll that intro, John

Yes, of course, right now, 3, 2, 1 I don't hear anything. Three, two, one. I don't hear you doing the intro. Hold on. It's not working. I'm trying. I'm trying. Hold on. If everybody just stops for a minute and really thinks about the intro, imagines it in their minds, ears, and eyes, they'll at least hear the sound. I'm under the impression podcast intros are usually far too long. I think they could be a longer. I think the intro should be a sub-podcast in and of a podcast. itself that nobody's inclined to skip over.

Cool. Snapdickety. That was great. Terrific. And it flew by. Absolutely. I really flew by. Damn.

Give it an admirable train for waiting for post credits. See you now. All righty. There's got to be one. It's got to be a setup for the future. It'd be a setup for the future. John Wick crossover. We just watched the setup for the future.

Another setup for more future. That's his personal future. I'm talking about the franchise future. He got a call from the unknown, and so we don't know exactly what it is, but that being, he's being contacted about something. All right, fine. Then I'll change my hopes to an innocuous joke post-credit scene that doesn't amount to anything. Got his daughter of the kidding.

it's like a wolfman story absolutely is yeah sometimes a little more of a really similar I feel like it's a post-credicing coming yeah like six sons of bitches yeah it's in the family man

it is hey man me and grandpa probably her dad to them probably she taught him how to do that three guy sniper shot I love it the whole thing is wolf and sheep's clothing it's like the entire movie

this guy who's literally he's bored into being this person and he wants something else but it is just a veneer yeah it's like a werewolf movie where you watch where you meet someone who's already sort of conquered their affliction only to then discover

they actually want to lean into it and let it back out I mean yeah they haven't but it's like he's hungry that's what that first act is he's just hungry for more he wants he wants to feed again because yeah it was a bit of

There's an overreaction on that bus for sure. Yeah. Yeah. No, yeah, yeah. It's that blood hunger. It's like once he gets that first taste, he holds back. It's like, oh, it starts the Jones, you know? But there is a, yeah, I like that it was a moral conundrum

because it was a weird turn on things when the couple breaks in. They heard the Russians in it, and the girl sounded Russian when she first started speaking. I was like, oh, the Latinos. But I thought it was an interesting turn of events of how he goes in there and he decides like, okay, Kitty Brace was taken, felt the shame. It's time for him to get revenge, just lets them go. And that's the end of what happened with there, with that couple who came in and kicked off this whole event for him in his life. And they just stumbles on to something else because they brought it back to he just wants to feed.

It's not about getting revenge. you know and I thought like oh what an interesting turn I thought it was going to be like oh John Wick like kind of someone breaks in and then he's here to get revenge now and oh but he took revenge on the wrong people and it's led to all this so I thought it was kind of a cooler through line that it's this all stems because he just had to get back to who he was you know yeah it's like a super personal like you they set up all these things and I'm sure that they do factor in of like Oh, man, he's got to prove himself to his son. He's got to, you know, like, re-establish himself as, you know, like the alpha of this family,

but it's really not about that at all. I wish they brought some of that back at the end. Yeah. There's something with his son. Yeah. Since that was, that seemed to be a definite focus of a big part of what he was feeling ashamed about was wanting to be, like, feel like a man in front of his family, in front of his son, especially, you know. I think we got, like, enough, you know.

Like when he sees he's all messed up, he's like, hey, I'm proud of you. How you tackle that guy? Then his son comes up and sees like, oh, my God, my dad's a badass. My dad took all these dudes down. But I didn't want a moment with him and his son, just like something. Like, even if it was like a exchange of looks between each other or something like that. Because his son really, you get that emotional beat, I guess is what I sort of want it. That's also like he, I like how it's both like he loves his family and he's really soft and sensitive towards them.

I just think fucking Bob Odenker plays those nuances so well and those gets officially over we'll continue talking about it now

I think he plays those nuances so incredibly well of it's like when he wipes off the board of like 240 days since it's an accident

or something happened you know like a lot of movies that try to have a little bit of that humor to their shoot-em muckflicks can be a little excessive and like i get the joke you know like sometimes i it felt lived in here versus i get the joke all right he's a family man yeah they didn't do an insert on it and make it a whole moment it's that thing of like you could almost miss it if you weren't

really fully aware of or paying attention to what the gag is it feels really natural the way everything works in that regard of him being a family man like of how like something like the movie shoot him up or something like Mr. Mrs. Smith might overdo it like I get it your husband wife and his family jokes you know it's kind of a cartoon it's heightened and you're having fun with that I understand I thought they did it just enough in here to the point where it never became annoying and would come at surprising moments and there wasn't like an it wasn't like ever a moment of over bantering yeah even amongst the family dynamics it gets a little far-fetched for me when old man Christopher Lloyd shows up

at the end and it's like no one can shoot him he's blaze of glory it's fun it's funny it's a little I was risen the one who got shots but yeah like I thought the moment where he's in the chair and the Russian guy show up and he like pulls out his sawed off shotgun

blast him I thought that was a cool moment and but yeah when he's at the warehouse itself it's a little much but it's so cool yeah yeah yeah you've earned it you've earned this movie Yeah, and I mean, it adds because of just the scenario and because of, like, Christopher Lloyd, like, the presence that he brings just because we know Christopher Lloyd and then, too, yeah, he is much old. His performance is great, yeah, yeah, yeah. Like, there's a charm and a cheekiness to that that is just in fitting enough with the movie to make it okay. It's like it's, it's, it's, the movie has some height, but, like, you name check those other movies, and it's not going for that level of craziness.

And so I feel like, yeah, it approaches with Christopher Lloyd, maybe the movie. ceiling of that but it doesn't for me go beyond to the point where i'm like i'm kind of pulled out of this now you know yeah because when i saw the trailer it came back to me just now i remember with the kiddie kitty bracelet moment like when he's screaming i thought the movie was going to be that the whole time instead of john wigg's dog it's his daughter's bracelet yeah i thought it would just be a bunch of jokes about him like you know being a family man too and but it wasn't you know it really wasn't it felt like that's just who his character is it felt like a person we were watching accept himself like this was this bob onerick's really great at playing those relatable guys

who have a walk around with a sense of shame you know and it's a shame of like what his past is but he's also not proud of who he is now because he's got to repress who he really feels like he is internally and as this wolfman story is going on he by the end accepts who he is and looks like he repairs his marriage and is able to have a fresh start while being on this stage of acceptance of the kind of man that he really is and he got to show his family too so i think it's a thing it's a cool story and i did find myself legit concern for him at one point i was i was actually worried whereas when you compare it to because this is the same writer from john wick and the movie was constantly compared when i heard it whereas opposed to um you know john wick i'm never

really worried for john wick in that film worried forever everyone else yeah because the way he fights he escalatingly gets smoother throughout this film yeah you know watching a guy literally shake the dust off yeah because in the first bus fight he's getting his ass kicked quite a bit um but he's he's like rocky valboa you know he brawes he's bold dog he like no matter and i think that's what's cool distinguishing the fighting styles he just gets in there rough and tumble style you know he's not clean about it but by the time you get to the finale where he is very about it that's when he's at the smoothest with how he handles everything and so I think it's cool to watch a guy go through rough tough and then like that first fight he gets hurt a lot

he gets thrown through the window you know and then the second fight at his family home it's still kind of like that gets a few hits on him and then by the time you get to the finale it's just like oh no he's he's he's he's he's he's he's who he says he used to be yeah yeah yeah I mean I I think that it does really nicely to separate itself from John Wick, especially in that way of, yeah, you have, like with John Wick, when it kicks off, it's like, oh, his skills haven't aged a day, you know, like he is completely kind of ready to jump back into this, whereas here you're watching this internal debate happen throughout, and I really liked, like, it's realized in dialogue, it's realized in scenes, but I think a lot of it is mostly in the performance of just the internal stuff that Bob Oden Kirk is really good at throwing out there. so that, yeah, you are watching this sort of back and forth within this man. And I love the way they handle the initial robbery because it, as the movie goes on, picks up this quality where it's like, okay, in that full sheep's clothing mode,

it's probably, look, I know what I'm capable of. These are just two punks who are, you know, desperate and afraid. I don't want to destroy them right now, but also that comes at a cost of, yeah, it's the overcorrection. And so it is fascinating to watch a hitman movie where the point, I feel like there's so many, like, Hitman or X badass brought back into the fold movies where it's about, obviously, the tension between the normal quiet life and the killer, but here it's less about picking one or the other, or it's really, yeah, just about leaning

into that and finding the most actualized life for yourself based on what you're good at and what you love. Yeah. And I love, yeah, the way that it's more about striking the balance rather than it is about, I gotta get out and do one last job, or I'm back and I gotta, you know, prove supremacy. It's like you get the sense that when he gets the call, he is actually a little bit bummed to have to, like, go back to work so quickly. And so, yeah, like they really pinned together the at-home stuff and the nitty, gritty, you know, violent action stuff into what feels like a well-rounded, complete package for the most part. Yeah, storytelling-wise, I think they really cared about that a lot.

I thought it was just going to be a big style over substance with a great Bob Odenkirk movie. Yeah. Performance. I thought that's what was going to be like. A great Bob Oedick performance in a super stylish film. Yeah. I was kind of surprised by, oh, you care a lot more about the character storytelling than I expected. I was expecting it to be one of those scenarios where it's like the cast really elevates like a pretty straightforward script.

But yeah, it's like the scripting I thought had a thoughtful quality to it along with all your cool action movie tropes. And for Ilya Nysheller, like, coming out of hardcore Henry, I really appreciated this movie's restraint because there are, I mean, yeah, obviously that guy has a knack for stylish action, but I thought that it avoided, for me, at least, doing too much style only for the sake of style. Like, you could argue that shot where the gun flips and the Rizek catches it is just like super cool. You earned that at the finale. At the finale, it's like, oh, you're unleashed at that point. But there are so many great, really deliberate, just like pans or oneer shots that serve to really sell the action and to really make it feel tangible and coming out of something that is so kinetic and frenetic and frantic and frantic like Hardcore Henry to see something like this that is like really restrained and then hulks out when it needs to. Like it really does in a completely action movie kind of way embody that sort of seething, simmering anguish at the heart of like a way. We'rewolf kind of story.

So, like, I thought this was a cool growth for that guy as a director as well, you know. Well, it's like the first, the only oner that you have of this movie is the one with the introduction of the, of our villain, the Russian bad guy. Yeah. And it is a great introduction, you know, that's something, I don't want to make this just a John Wick comparison. I think the reason why I'm doing that is because that's all I heard about this movie. Like, it was just constantly compared.

And I get it. Like, it's a dude who's a formerly. hitman and then fights the Russians. I totally see why people compare. I can't disregard that. But there are things here that I think like store, like when you think about John Wick, that's a different type of movie in the sense that that's a, A, not as funny in the way how this is more overtly funny.

And also it's like there's more of like a fun pop zest to this film. Yeah. Versus that. There's an ironic humor. Yeah, exactly. That one, the motive for what he's doing is very different. Like, John Wick is a pure revenge film where this is, it comes from a selfish desire essentially is where this comes from. And then it becomes about protecting, you know?

And so, and I hear that word, Will Smith, really ruined that word for me. I know, all right. So we slap the whole, these Russians around. Yeah, man, Bob Odenkirk is slapping everybody nonstop. So he's coined that phrase now. So, yeah, it's a very different type of thing. And I think, too, with terms of your Russian bad guy, I'd say for the most part, does he lose some of the threatening weight as the movie progresses? Yeah, by the time freaking Bob Odenkirtick shows up at the club.

At the club, it is incinerating the money and everything. You're like, okay, this guy's not threatening. Yeah, he ain't got shit. But at first, you know, it is threatening. And the way they build him up, I think, is really cool. that they do that's when I was I am a little concerned because it's the way they they the picture they paint of the kind of batty he is sounds scary and the kind of guy you wouldn't want to mess with and I think the way they they fleshed out the

the world that our main character comes on is this hutch is real his actual name um but the way they flesh out the world there was some noise going out there the way they flesh out the world that Hutch comes from, I think the way they spread out the little bits of information about his backstory was really well done. Like how he just tells the son up front, like I was an auditor and yet sounds like it was his cover story. And then you find out that that's actually what he was titled and why he was titled that. I'm like, oh, that's really cool because he could just be up front with his, I was an auditor, but not to come of auditor you actually think he was and the way they handled the backstory with his wife like

it sounds like his wife knew something about him and uh because she wasn't surprised when she saw him and she was you know tending to his wounds and we don't know much about how they met necessarily but the way they allude to what they were like at the beginning when starting a new starting a life like this was exciting for him when starting a family was exciting for him And then now that he's just only doing that, how it's lost a lot of that flavor for them. And even that cliche assassin story of the day that changed was the day he didn't kill this guy because he heard his story. But I thought the way that played out and how that influenced his decision to do the family.

I'm like, oh, that's fresh. Like, it's very cliche to be like, you had the gun to the back of the guy's head. And then he couldn't pull the trigger versus a series. Yeah. And then for him to like, dude, the whole eye caught up with him. saw he was actually he cleaned up and he has a family life and that made him want to have that as well i think is refreshing there's a lot of unique things i think they did here and they they kept the life throughout and i feel like visually there was a lot of cool like visual illustrations that

they point out that an average audience member i think latch on to you know they framed a lot of the way him and his wife are a lot of the shots were like they're separated yeah there's usually something that is a divide, like a physical divider between them. Yeah, physical divide or the pillow or the car when they're in the garage, you know. Yeah, yeah. Barriers and use of negative spaces or like claustrophobic framing, you know, when they're talking to each other directly. But I wanted to see some, there are some wrap-ups that I would have liked to have seen.

Like I wanted to see the daughter get the kitty. I wanted to see the daughter get the kitty bracelet. I wanted something with the son. There are some emotional beats. I cared about that. I cared about the family stuff. Yeah, for sure. So I wanted a little bit of buttons there, but it would be a lie to say I left dissatisfied by the time it ended.

Well, this reminded me kind of of how I almost feel like Hitman movies like this are sort of like garage rock where it's like, yeah, there are like a lot of pieces of this. A lot of the chords are the same as like a million things you've seen. But when you put them in an interesting order and you put in a few interesting flourishes, something can feel quite new. And when you have enough unique little twists on the idea, like you were talking about with letting that guy go, like that's when these things can really sing. And it is simple and all it takes is some expressive communication of the themes of the story through the filmmaking. I feel like this is a good example of one that didn't get too lost in the weeds of, you know, putting a bunch of cool effects and filters and stuff like that.

It just went with, okay, what's the song we're playing? How do we accentuate it the most while also keeping it straightforward? into the point and yeah like there are how would you describe the the choice of songs like i feel like you would be better at articulating let me attempt and then you rewrite what i'm saying um is that i think the choice of songs because obviously they're the choice of songs that our characters using in this movie they feel like because there's such oldies music you know they're from such a different era kind of like the bygone era of our character as well. So I love that it was constantly,

those were the needle drops of the film. Yeah, I think you're, you know, I think you're absolutely right. It's like it's hearkening. They sound like, you know, they're peppy, and they are, you know, warm and inviting, and they feel, they are of an older time, so it feels like something more quintessential and classic,

like, you know, the American family household or whatever, but also in the lyrics, you know, I feel very intentional, yeah. Yeah, I don't have a great recollection of every song, but I feel like the irony and the clever part about choosing those is that, yeah, they have this familial home equality within the sound, but when you dig within the lyrics, they actually seem to be speaking to these things

that actually want to get out of him or to, you know, be sort of acknowledged. And that's the thing that music is really great at is, you know, is carrying a certain level of dramatic irony when you contrast what the lyrics are saying with the sound. And I feel like this, it's like there's that one moment where they use Heartbreaker, which is like a pretty badass, you know, it's like, that's your quintessential action movie rock tune moment. And I thought that was placed nicely amid all these other ones because, yeah, it's sort of the duality to me of his life, is sort of the sound, is something he does care for and he does want, that warmth. And when he's looking, there's that one shot, I don't remember if it was underscored with music, but where he's looking into the house, the warm light is bathed on him. but he's outside, everything is really cold.

And so I feel like the lyrical content does a good job in those songs of complementing the theme of what his character is experiencing, feeling, wanting to let out without being like a song choice where it's like, oh, you chose this for the lyrics, I get it, you know. Yeah, yeah. Yeah, I thought they're well chosen. Yeah, it's an excellent film. I think for what it is, and I think it's freaking excellent.

And it becomes a little cartoony with Rizza and the dad. Yeah, a little cartoon-y, but there's something also charming about it. Yeah, it's a family reunion still. Yeah, it is. And I like the, even though a lot of the chemistry formed with Rosa is through the, what kind of player is that? Oh, yeah, I'm not 100% sure, but yeah, just like an old-time radio transmitter. Yeah, a lot of the communications formed through that.

I think there is a good chemistry there by the time he shows up, it's really rewarding. Well, and even the use of that, like when you used to seeing him on that, And then he calls him on the phone and he's like, you just don't want to get this number traced? Yeah. Like, yeah, it communicates the urgency even just through that motif, you know? True. Well chosen.

Guys, what do you think about the movie, No, buddy? Leave your thoughts down below. Subscribe, click that bell, hit that like button. And hey, let's do a Patreon. David Gandy, I just wanted to say thank you for inspiring this biopic of your life. I feel like if anybody out there is itching, to let the beast out it's you david you got such a lovely demeanor you're a kind good-hearted guy and that's that's you but you're also a successful accomplished martial artist and i feel like you probably

have a little pent-up rage that you need to go out there on the streets and just let out you know you're like family to us and i would feel very safe in your care and uh hey if you could teach me a thing or two i would be very grateful no you're not going to have me looking at you like the son in this movie. I'm just going to be all admiration, David Gandy. So I hope you're staying well and kicking ass out there and we'll catch you next month. Catch you, David.