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Nobody doesn't break any new ground for the genre, but this viscerally violent thriller smashes, shatters, and destroys plenty of other things -- all while proving Bob Odenkirk has what it takes to be an action star.

Grab some popcorn, action fans -- if you're in the mood for creative stunts and a funny, violent, fast-paced story, Nobody delivers.

Critics Reviews

Audience reviews, cast & crew.

Ilya Naishuller

Bob Odenkirk

Hutch Mansell

Connie Nielsen

Becca Mansell

Alexey Serebryakov

Yulian Kuznetsov

Christopher Lloyd

Hutch's Father

Harry Mansell

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Nobody First Reviews: A Bloody, Funny, Stylish Shot of Adrenaline

Critics say the bob odenkirk movie feels like the snarky cousin of john wick , full of sly winks, memorable characters, and a healthy dose of outrageous action..

TAGGED AS: Action , First Reviews , movies , reviews

From the creator of the John Wick franchise comes Ilya Naishuller’ s Nobody , a similar action movie about a retired family man with a particular set of skills who goes up against the Russian mob. This one gives us comedic actor and Better Call Saul star Bob Odenkirk as the unlikely lead, and according to most of the early reviews of the movie, it’s worth seeing for him alone. That and a ton of brutal action and a tone that doesn’t take itself too seriously.

Here’s what critics are saying about Nobody :

Is Nobody a good time at the movies?

Nobody doesn’t take itself seriously and just wants the viewer to have fun and have a moment to tune out from the real world for a couple of hours. – Jamie Broadnax, Black Girl Nerds

Is it a good movie? Not exactly. But its 90 minutes fly by, and it’s a canny vehicle for Odenkirk. – Owen Gleiberman, Variety

Naishuller and Odenkirk prove to be a winning duo of entertaining chaos. – Preston Barta, Fresh Fiction

An immensely entertaining experience… You’re in for a wild ride that never lets up. – Meagan Navarro, Bloody Disgusting

Will it satisfy action junkies?

Action-movie lovers get plenty to love, from an appearance from 1980s tough-guy actor Michael Ironside to well-crafted two-fisted affairs. – Brian Truitt, USA Today

Its approach to methodically crafted action will leave you cheering in your seat… This is an action film crafted by action fans with style, love, and the slyest of winks. – Rob Hunter, Film School Rejects

Nobody doesn’t just exist in the action genre but adds to it. – Kate Sánchez, But Why Tho? A Geek Community

The combat, while not as flashily shot as the work of [ John Wick directors Chad Stahelski and David Leitch], is utilitarian enough to get the job done. – Kyle Pinion, ScreenRex

(Photo by Allen Fraser/©Universal Pictures)

How violent is it?

[The bus scene is] one of those movie fights that just goes on and on, the violence moving from brutal to funny through sheer, absurd duration. It’s amazing. – A.A. Dowd, AV Club

The hyper-stylization and blood-letting are grounded by the gallows humor. – Meagan Navarro, Bloody Disgusting

Nobody simply doubles down on the genre’s most immoral implication, for unquestioningly equating manliness with brute violence. – Chuck Bowen, Slant Magazine

How is Ilya Naishuller’s work as director ?

With his second feature, Ilya Naishuller has grown as a filmmaker and truly has the potential to be one of the most exciting action directors working. – Sean Mulvihill, FanboyNation

[He] may be as far as you can get from a psychological realist… but he’s a born filmmaker. – Owen Gleiberman, Variety

Naishuller stages the action effectively (that bus sequence stands out), delivering visceral thrills even for those of us who are keeping our distance. – John DeFore, Hollywood Reporter

Naishuller is quite good at directing action. – Chris Evangelista, Slashfilm

How does it look ?

Pawel Pogorzelski’s cinematography is just fabulous in the film… Violence has never looked this beautiful. – Dewey Singleton, AwardsWatch

Midsommar and Hereditary cinematographer Pawel Pogorzelski brings the same slick camera maneuvers that elevated those movies to dreamlike planes in service of pure entertainment. – Eric Kohn, IndieWire

Shout out to cinematographer Pawel Pogorzelski, because stylistic flair becomes that much more important as narrative throughlines are straighter than arrows. – Matt Donato, What to Watch

How is Bob Odenkirk as an action hero?

He’s simply awesome and owns this movie. – Don Shanahan, Every Movie Has a Lesson

A credible Jekyll and Hyde act… It’s a blast seeing the actor in this kind of role, even if Nobody does vaguely play like the nihilistic cartoon version of a Vince Gilligan arc. – A.A. Dowd, AV Club

The Odenkirk-ness is really all there is… which is enough to keep things interesting, if not make them all that good. – Bill Goodykoontz, Arizona Republic

[This] may leave you longing to watch Better Call Saul and Odenkirk’s thorny performance as Saul Goodman, a truly piercing dramatization of frustration and failure. – Chuck Bowen, Slant Magazine

Odenkirk deserves way better. – Kyle Pinion, ScreenRex

Does anyone in the supporting cast stand out ?

Christopher Lloyd is a special delight as Hutch’s shotgun-toting father. – Rob Hunter, Film School Rejects

Christopher Lloyd renews his classic mad-science energy with a devious twist. – Eric Kohn, IndieWire

An appearance by RZA as Hutch’s brother, whose own hidden talents aid Hutch in his quest for vengeance, also adds some comedic flair to this story. – Jamie Broadnax, Black Girl Nerds

Other than Odenkirk, they have little to work with and don’t leave an impression. – Chris Agar, ScreenRant

How is the villain?

With a fearsome magnetism that’s at once authentic and operatic… He’s like the Frankenstein’s monster of hard-partying hooligans. – Owen Gleiberman, Variety

It all goes downhill once the villain, Yulian, is dropped into play. – Kyle Pinion, ScreenRex

One of the blandest movie villains in recent memory. – Chris Evangelista, Slashfilm

That Yulian fails to be compelling or intimidating contributes to the film’s overall low stakes. – Meagan Navarro, Bloody Disgusting

What about the writing ?

The plot of Nobody is, in a word, preposterous… It’s just a cardboard fable. But when the ultraviolence erupts, the movie pops. – Owen Gleiberman, Variety

The plot is absurd and could fall apart easily when looking back on it… Is it trying to say anything? Not really. This is as slight as it gets. – Aaron Neuwirth, We Live Entertainment

There’s some unwise and unnecessary narration early on, but the already slim exposition is tidily delivered in oft-comedic ways. – Rob Hunter, Film School Rejects

Nobody seems to think that if it follows a paint-by-numbers Wick formula, that’ll be enough. It’s not. – Chris Evangelista, Slashfilm

The story lacks the emotional impact for the film to truly connect with viewers. – Chris Agar, ScreenRant

Is the movie funny ?

The film also happens to be a masterclass in sardonic humor. – Sean Mulvihill, FanboyNation

This isn’t a parody, but it offers sly humor on many levels…[and] a couple of well-timed visual gags. – Brian Truitt, USA Today

I was hoping for more comic relief lines. – Danielle Solzman, Solzy at the Movies

Is it trying too hard to be John Wick ?

Kolstad’s script takes a similar idea but finds the different wrinkles to… create a unique film in the similar mold. – Sean Mulvihill, FanboyNation

Like Kolstad’s John Wick , but it makes its own way with more humor and charisma than the more silent and gritty counterparts. – Kate Sánchez, But Why Tho? A Geek Community

You could call Nobody Wickian… In philosophy, however, we’re stuck in Death Wish territory. – A.A. Dowd, AV Club

If John Wick is Buster Keaton, Hutch is Harold Lloyd. – Aaron Neuwirth, We Live Entertainment

The influence is unmistakable to the point where it keeps Nobody from fully creating its own identity. – Joshua Starnes, VitalThrills.com

Should it get its own franchise ?

Move over John Wick and make way for Hutch Mansell. – Dewey Singleton, AwardsWatch

[It] leaves you eager to follow the Mansells on any blood splatter-filled journey. – Meagan Navarro, Bloody Disgusting

Nobody features an instantly iconic action trio that I’d never imagine in a million a years. Now I want spinoffs and sequels with these characters. – Sean Mulvihill, FanboyNation

The worst thing you can say about it is this: It’s satisfying enough that it could spawn sequels, possibly distracting its star from the plum dramatic roles he deserves. – John DeFore, Hollywood Reporter

Nobody releases in theaters on March 26, 2021.

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Bob Odenkirk takes an unexpected turn in Ilya Naishuller ’s “Nobody,” a clever action flick that repositions the star of “Better Call Saul” as someone closer to Liam Neeson ’s action heroes. While imagining one of the brilliant minds behind “Mr. Show” as an action hero may seem like a stretch, it turns out to be a stroke of genius as Odenkirk grounds his violent protagonist with a very special set of skills in a way that other actors would have missed. He’s great as a man who has tried to leave a violent past behind, but movies have taught us for generations that that’s easier said than done.

“Nobody” opens with a montage of the mundanity of Hutch Mansell’s daily existence. Every day, he scans the same transit card; every week, he misses the trash man by mere seconds. Life is a series of routines, which has eaten away at his marriage to Becca ( Connie Nielsen ) while providing a relatively happy home for his kids, Blake ( Gage Munroe ) and Abby ( Paisley Cadorath ). Hutch works at a manufacturing company owned by his father-in-law Eddie ( Michael Ironside ) and dominated by his alpha brother-in-law Charlie ( Billy MacLellan ). Luckily, writer Derek Kolstad doesn’t waste too much time on Hutch’s normie suburban existence, thrusting viewers into the action of “Nobody” almost immediately.

It starts with a home invasion, in which two bottom-level criminals rob the Mansells of some spending money and a few trinkets. Hutch has the drop on one of them, golf club raised in the air, but he doesn’t take the chance at elevating the violence, much to the disappointment of his son and disdain of his dude-bro male neighbor. When it looks like the invaders may have taken poor Abby’s kitty-kat bracelet, Hutch snaps, tracking them down to retrieve it.

However, “Nobody” is not really a “Death Wish”-esque story of an average guy turned vigilante. There are hints very early on that Hutch isn’t just a normal suburbanite. Even his man cave seems laid out to hint at a different background than your neighbor, including a radio through which he speaks to his brother Harry (RZA), who is in hiding. Why? And what’s up with the box of fake IDs and money that Hutch's father David ( Christopher Lloyd ) has been storing away? When the bracelet retrieval job goes a little sideways, Hutch is on a bus heading home when he encounters a group of obnoxious drunks harassing a woman who’s on her own. He takes it upon himself to protect her and essentially starts a violent war with a Russian crime lord named Yulian ( Aleksey Serebryakov ).

The bus scene that initiates the real action of “Nobody” is the kind of action choreography work of art that will have devoted audiences applauding at screenings for years to come. It’s a clever piece of filmmaking that starts with Hutch throwing himself into a few awkward exchanges with his new enemies and continues to elevate, almost as if this encounter is awakening his skill set one punch at a time. Choreographed by the team behind “ John Wick ,” it’s the type of action scene that people will be mentioning with a smile for a long time, and a reminder of the adrenalin that a film can get from a creatively crafted action scene.

Other than a scene that sets up Yulian as a psychopathic villain that runs a bit too long, Naishuller is smart enough to use the momentum from the bus scene to push through the rest of the story. “Nobody” is an incredibly quick film, an experience that feels nowhere near as long as its 92-minute runtime. One could argue that the movie could have used a bit more prologue that would make Becca and their children into characters instead of functions for the plot, but there’s a tightness to “Nobody” that’s often lacking in modern films, one that’s reminiscent of the economy of the “John Wick” flicks, which is one of that trilogy’s greatest strengths.

Then there’s Odenkirk. Watching “Nobody” a second time made it easier to appreciate how much he brings to a role that someone could have easily sleepwalked through for a paycheck (this would be a much lesser movie with the current king of the Paycheck Performance, Bruce Willis , for example). Odenkirk deftly sells both halves of Hutch, making both his current family life and his violent past believable. It’s a smart performance, which should come as no surprise to fans of his work on “Breaking Bad” and “Saul,” but it’s also a wonderfully physical one in that he makes the stunt work and fight choreography genuine. The supporting cast is strong—particularly RZA and Lloyd, both of whom know exactly what to bring to this project—but it’s Odenkirk’s film through and through, and he nails it.

Unsurprisingly from the director of the insanity that is “ Hardcore Henry ,” Naishuller has a habit of overplaying his stylistic hand every now and then with slo-mo montages set to unusual music choices. And there’s a version of the film that feels like it has higher stakes—no one ever really feels in jeopardy here (at least “John Wick” had the dog). But Naishuller ultimately gets what matters here right, giving a talented actor an unexpected vehicle to drive really fast with just enough bloodshed for action fans, and not too much gore for average audiences. It’s the rare modern action film that makes me hope it does well enough to produce a sequel. (I also think there’s potential for a crossover “John Wick vs. Nobody” project that would make roughly a gajillion dollars worldwide.)

“Nobody” works because it values scene construction and action choreography above all else, leaving behind pretension and the overplotting that's been common in the genre in recent years. It doesn’t break any molds so much as present a really good time within a familiar structure. After a year with too few action movies because of the shelving of the blockbuster, “Nobody” gives viewers an adrenalin rush that almost feels new again.

Only in theaters tomorrow, March 26th.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Nobody (2021)

Rated R for strong violence and bloody images, language throughout and brief drug use.

Bob Odenkirk as Hutch Mansell

Connie Nielsen as Becca Mansell

Christopher Lloyd as David Mansell

Gage Munroe as Blake Mansell

RZA as Harry Mansell

Aleksey Serebryakov as Yulian Kuznetsov

Ilya Naishuller
Derek Kolstad

Cinematographer

Pawel Pogorzelski
Evan Schiff
William Yeh
David Buckley

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‘Nobody’ Review: A Wolf in Wimp’s Clothing

Bob Odenkirk plays a family man with a secret past in this slick, shallow thriller.

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By Jeannette Catsoulis

As slick as a blood spill and as single-minded as a meat grinder, “Nobody” hustles us along with a swiftness that blurs the foolishness of its plot and the depravity of its message. A series of cartoonishly rapid cuts introduces Hutch ( Bob Odenkirk ), a mild-mannered suburban schmuck whose identical days flip past in a haze of chores and a vague desk job. His sighing wife (Connie Nielsen) and teenage son (Gage Munroe) regard him with something close to pity — especially when he balks at attacking two luckless home invaders. His son is fearless; Hutch is frozen.

A journey from emasculation to invigoration, “Nobody” harks back to the vigilante dramas of the 1970s and early 80s. Unlike the would-be heroes of those movies, though, Hutch has no real excuse for the savage spree he instigates and perpetuates. (His family is unharmed; what’s wounded is his ego.) Moreover, Hutch is not who he seems, his secret past seemingly known only to his wily father (Christopher Lloyd) and adoptive brother (RZA). So when he boards a bus, splashing its interior in the blood, teeth and tissue of a passel of Russian gangsters, his lethal skills are as unsurprising as his ultimate satiety. He might emerge bruised and battered, but — after seeing him calmly empty the bullets from his gun before the brawl — we know that’s how he likes it: He wants to feel the damage he’s doing.

Flashy and cocksure, “Nobody,” written by Derek Kolstad (the narrative engine of the “John Wick” franchise ), sprints from one dust up to the next with winking efficiency. However disreputable its hoary thesis — that real masculinity resides in the fists — its director, Ilya Naishuller , knows how to make a film move. And this one races by: The stunts are ultrasmooth, the dialogue glibly economical and Pawel Pogorzelski’s camera is agile and ruthlessly focused. As the bodies mount and Hutch becomes the target of a karaoke-singing Russian mobster (a charismatic Alexey Serebryakov), the movie feebly tries to pardon Hutch’s implacable brutality.

“I’m a good man, a family man,” he informs an adversary. But he’s a counterfeit regular guy in a movie that’s openly contemptuous of such men, a sleeping assassin who’s finally free to scratch a long-suppressed itch. (Steve Lawrence and Eydie Gorme singing “I’ve Gotta Be Me” during his transition is not exactly subtle.) Now, at last, Hutch is alive; more important, now he’s a man.

Nobody Rated R for guns, knives, explosives and terrible karaoke. Running time: 1 hour 32 minutes. In theaters. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.

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‘Nobody’ Review: Bob Odenkirk Gets His Death Wish On in an Action-Geek Fantasy That’s Not What It Seems

It may be preposterous, but Ilya Naishuller's don't-get-mad-get-even thriller confirms he's a born filmmaker.

By Owen Gleiberman

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Before there were superhero films, there were don’t-get-mad-get-even films. You might say that the two genres have nothing to do with each other. But in the early-to-mid-’70s, when the revenge film as we know it was coming into being with “Dirty Harry,” “Walking Tall,” and “Death Wish,” part of the premise of the new pulp righteousness was that a man who seethed softly and carried a big weapon to cleanse the streets of “scum” had the kind of invincibility we now associate with demigods in spandex. The revenge genre, which could also be called the defend-yourself-because-no-one-else-will genre, became a mythology, a fusion of lone-wolf Western nostalgia and right-wing nihilism that any actor with enough muscle mass and the right scowl could plug into. Sly and Arnold, Chuck Norris and Steven Seagal, Bruce Willis — they all, in a way, played variations on the same character, the ruthless bruiser who could never be defeated because he had the wrath of nobility on his side. His squint of cool rage was the only superpower he needed.

Which brings us to Bob Odenkirk . You might say that “ Nobody ,” in which the wily star of “Better Call Saul” and “Breaking Bad” plays a glum suburban drone who gets in touch with his inner thug-bashing badass, follows every rule of the genre. It’s got a hero who starts off as a workaday family man, with a nice wife (Connie Nielsen) and two nice kids. Then he’s attacked by criminals in his own home. After which he starts to play dirty, give into his death wish, and walk tall.

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It’s in the middle of the night that a pair of robbers slip into the house. Odenkirk’s Hutch Mansell, hearing noises, goes downstairs to investigate, and there’s a scuffle — but it’s between his teenage son, Blake (Gage Munroe), and one of the intruders. Hutch, holding a golf club for protection, can’t bring himself to use it. The robbers leave, but Hutch finds himself being called a wimp. By who? By the cops, his son, and his macho neighbor. By everyone who hears about the incident.

We think we’re watching a movie about a paragon of middle-class mildness, like Bryan Cranston’s high-school teacher in “Breaking Bad” (or Bronson’s architect in “Death Wish”), who’s about to tap into something he has never felt before. But then Hutch, in a moment of existential meltdown, takes a midnight bus ride, and the bus is soon occupied by half a dozen Russian goons looking for trouble. Hutch takes the handgun his brother gave him and pointedly drops the bullets out of the chamber and onto the floor. He then takes on the entire gang with his bare hands (and a blade or two), introducing the fight with the Eastwood-worthy line, “I hope these assholes like hospital food.” Moments later, Hutch walks away, bruised but unbowed, and his victims are indeed headed for the hospital.

How did this happen? Hutch, it turns out, was never what he seemed. He’s got quite a backstory. And “Nobody” isn’t the movie it seemed either. It was directed by Ilya Naishuller, the audacious punk video auteur who has made just one previous feature, “Hardcore Henry” (2015), a spectacularly grandiose and innovative sci-fi noir action thriller done almost entirely in one shot, all from the point-of-view of its cybernetic hero. I found it at once annoying and amazing, and “Nobody” proves again that Naishuller, born in Russia and raised in London, may be as far as you can get from a psychological realist (the spirit of sin-city graphic novels and first-person-shooter video games flows through his blood) but he’s a born filmmaker.

“Nobody” is a thoroughly over-the-top and, at times, loony-tunes entry in the live-and-let-die vengeance-is-mine genre. Is it a good movie? Not exactly. But its 90 minutes fly by, and it’s a canny vehicle for Odenkirk, the unlikeliest star of a righteous macho bloodbath since Dustin Hoffman got his bear trap on in “Straw Dogs.” With his nerdishly parted receding hair, officious voice, and crestfallen air, Odenkirk could be the gloomier brother of Steve Carell, and you may wonder how we could start to buy him as the scariest person in the room. But Hutch possesses not so much brute strength as a certain deadly secret training and mad skill, and Odenkirk shows you how the payback brings him back to life. He’ll need every bit of that skill, too. One of the thugs he damaged is the brother of Yulian, a Russian mobster played by Aleksey Serebyakov (from “Leviathan”) with a fearsome magnetism that’s at once authentic and operatic. He’s like the Frankenstein’s monster of hard-partying hooligans.

The plot of “Nobody” is, in a word, preposterous, but Odenkirk’s conviction makes it work, as does the deranged twist of having Hutch team up with his retired FBI agent father (Christopher Lloyd) and adoptive brother (RZA). The movie is all about how Hutch, beneath his safe and colorless life, has to get back in touch with who he really is. And maybe that’s a metaphor for the way a lot of middle-class nobodies feel. It would be overstating things, though, to push the meaning of a thriller like this one too far. It’s just a cardboard fable. But when the ultraviolence erupts, the movie pops.

Reviewed online, March 18, 2021. MPAA Rating: R. Running time: 91 MIN.

Production: A Universal Pictures release, in association with Perfect World Pictures, of an 87North, Eighty Two Films, Odenkirk Provissiero Entertainment production. Producers: Kelly McCormick, David Leitch, Braden Aftergood, Bob Odenkirk, Marc Provissiero. Executive producers: Derek Kolstad, Marc S. Fischer, Annie Marter, Tobey Maguire.
Crew: Director: Ilya Naishuller. Screenplay: Derek Kolstad. Camera: Pawel Pogorzelski. Editors: William, Yeh, Evan Schiff. Music: David Buckley.
With: Bob Odenkirk, Connie Nielsen, Alexey Serebryakov, Christopher Lloyd, RZA, Michael Ironside, Colin Salmon, Billy MacLellan, Gage Munroe.

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Review: In ‘Nobody,’ Bob Odenkirk transforms into an action star. It suits him

Bob Odenkirk as Hutch Mansell in "Nobody," directed by Ilya Naishuller.

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The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic . Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the Centers for Disease Control and Prevention and local health officials .

“Nobody,” the brutish, comedic action-thriller in theaters this weekend, opens with an image unlike any other brandished by “Better Call Saul” star Bob Odenkirk: Sitting in an interrogation room, blood splattered across his denim jacket, gore embellishing his long, bruised face, disheveled, he lights a cigarette. From his jacket he reveals a can of tuna, a can opener and a gray kitten. To which his interrogators ask — “Who the f— are you?”

Established star images are meant to be leveraged. Here, the typically mild-mannered character actor and comedian flexes his everyman persona to portray a somber action hero weary of hiding his true identity.

That depth is the tinge of sophistication the well experienced Odenkirk brings to the Neanderthal shoot’em-up antics of “Nobody,” a violently high-testosterone B-movie that’s more a spoof than a satire of the vengeful-father subgenre. A natural vehicle for director Ilya Naishuller — following his 2016 Russian GoPro-shot sci-fi action flick “Hardcore Henry” — “Nobody” gathers from the familiar blood-soaked stream of “John Wick,” “Death Wish” and the “Taken” franchise to fashion a savage ode featuring the same mettle of its inspirations but with far greater humor attached to the well-worn beats.

Before the opening’s evocative tableau, a listless Hutch lives with his family of four in a gray suburban enclave. Here, the monotony of his everyday — the ding of his metro pass, a mouse click on a spreadsheet, his feet hitting the gravel for a daily run — serves as an unrelenting soundtrack for his anonymous routine as the dull head of a dreary nuclear family.

See, Hutch Mansell used to be someone. Someone special, someone feared. Now he exclusively wears the same beige khakis and blue-and-white-striped polo to his mundane auditing gig at his father-in-law’s nondescript manufacturing plant. It’s telling that we never discover what exactly this bland factory produces — and instead only see the accounting numbers that flash on Hutch’s computer screen. Because while Hutch might be breathing, the father of two isn’t living.

RZA, from left, Bob Odenkirk and Christopher Lloyd team up in "Nobody."

His fortunes change, so to speak, on the night two masked intruders break into his cozy home. They want his money, his watch and his wedding ring. The type of panic most subdued suburbanites would feel evades the unassuming dad. Even after his son (Gage Munroe) jumps a would-be-robber, wrestling him to the ground while Hutch wields a golf club, Hutch fails to act and allows the inept thieves to flee.

The incident leaves his beleaguered son disappointed in his gutless father and Hutch ashamed of himself — a pitiless shame deepened by ridicule from judgmental cops, his leather-jacket toting, ‘72 Challenger-owning neighbor, and gun-flaunting brother-in-law (Billy MacLellan). Hutch dutifully wears the albatross until his young daughter (Paisley Cadorath) cries for the lost kitty-cat bracelet taken by the intruders. As with John Wick and his dog, the trinket unleashes the geyser of simmering rage hidden within.

This family man isn’t your everyday auditor. Rather, the job title serves as a euphemism for Hutch’s very particular set of skills, skills acquired after a long career. Beneath his demure veneer exists a killing machine so classified by the government that a blackmailed Pentagon office worker must traverse to the basement of the intelligence center for information, only to discover a redacted file code-named, simply, “Nobody.”

The dormant assassin shakes his suffocating doldrums to track down the assailants who snatched his daughter’s bracelet. Even after he finds the perpetrators, his vengeful journey, for which he rides the bus into New York City’s seedy underbelly, isn’t enough to satiate his long quelled urges. A walking study of a midlife crisis gone awry, Hutch prays for danger, hoping to send a would-be punk to the hospital. Opportunity literally comes knocking when a load of drunk Euro-bros parade onto the bus.

Although Hutch ostensibly instigates the melee to protect a young woman passenger, “Nobody” isn’t concerned with “Death Wish”-style vigilante justice. Rather, Naishuller grasps the situation as an entry point to greater carnage.

The editing by William Yeh and Evan Schiff for the ensuing five-on-one brawl faintly captures the fluidity of Elísabet Ronaldsdóttir’s work on “John Wick.” While the choreographed bludgeoning — Hutch strangles one guy with a stop requested cord, gets thrown through a bus window, beats another unlucky oncomer with a bus handle, and performs a tracheotomy on a downed victim with a pocketknife and a straw — is a symphony of slapstick violence composed in brilliant clarity. A primal Hutch, beaming a sly smile of satisfaction, revels in the onslaught.

Bob Odenkirk, with a blood-spattered face, reveals his very special set of action skills in "Nobody."

The fracas reveals “Nobody” in its true form: a bleak action-comedy whose biggest laughs stem from a hunger for gratuitous brutality.

Beyond the pain inflicted by Hutch, Odenkirk’s action-star vehicle lacks any deeper emotion, but Naishuller relishes the opportunity to abandon logical storytelling in lieu of bust ‘em up prowess — and to introduce other cartoonish characters.

At one point, Christopher Lloyd, playing Hutch’s gloomy father, hoists a 12-gauge shotgun; a mysterious, horn-playing compatriot (RZA) communicates with Hutch through the radio; and a Russian mob leader and club owner, Yulian Kuznetsov (Aleksei Serebryakov), loves singing and dancing on his Euro-club stage but can kill a man with a smashed martini glass. This last guy hires Pavel (Araya Mengesha), a brooding Black Russian assassin, to hunt Hutch after Yulian’s son dies in the aforementioned bus scuffle.

These aging male characters desperately try to imagine a life outside the underworld, but it’s the sole place they feel whole. That void has gnawed at Hutch, subtracting the passion from his marriage with Becca (a criminally underutilized Connie Nielsen) and making him the butt of his neighbor‘s and brother-in-law’s jokes. “Deep down I always knew it was a facade,” Hutch says of his sleepy suburban life.

And once he literally sends the women and children away, “Nobody” becomes a domain for those egos to run wild again. The film’s hyper-masculine, hard-stomping soul and metal soundtrack takes hold, culminating in a bullet-riddled final showdown at Hutch’s factory.

In “Nobody,” Bob Odenpunches, Odenkicks and Odenshoots for a pulpy dark comedy waiting to thrill junkie B-movie lovers.

'Nobody'

Rating: R, for strong violence and bloody images, language throughout and brief drug use Running time: 1 hour, 31 minutes Playing: Opens March 26 in general release; available on VOD April 16

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Nobody Is Just Good Enough Thanks to Bob Odenkirk

Nobody is a movie about men who need, who are even secretly hoping for, an excuse to commit violence. They’re suburban men, family men, men who should be beyond such things — but if they had no choice , if their homes or their families were in peril, well, who could blame them? When Hutch Mansell ( Bob Odenkirk ) opts not to fight back when his house gets broken into by armed intruders, everyone around him shakes their heads in barely disguised contempt at his perceived weakness, but also at the perceived waste. “Did you even take a swing?” one of the cops who responds to the call asks when he sees the golf club Hutch had armed himself with. “I wish they’d have picked my place, you know? Could have used the exercise,” his weekend warrior neighbor smirks. Most damning of all is Hutch’s father-in-law Eddie (Michael Ironside), who owns the manufacturing business at which Hutch works, and who says, “I’m thinking you did the best thing you could. I mean, you being you.”

These men are all action heroes in waiting in their own heads, but the conceit in Nobody is that Hutch genuinely is one. He’s a trained killer in nondescript dad drag, one who gave up the life in favor of a peaceful existence with his wife, Becca (Connie Nielsen), and their kids, Blake (Gage Munroe) and Abby (Paisley Cadorath). If this sounds a bit like the start of a certain Keanu Reeves franchise, know that Hutch also has a fateful run-in with the shiftless relative of a formidable Russian gangster who runs a neon-lit nightclub. Nobody shares the same screenwriter as John Wick and is produced by David Leitch, who, with fellow stuntman turned filmmaker Chad Stahelski, made the first John Wick before moving on to the equally fab Atomic Blonde . But it’s directed by Ilya Naishuller, whose 2015 debut Hardcore Henry was a 96-minute barrage shot entirely from the perspective of its protagonist — a movie with brashness to spare and the sensibility of a tween spitting slurs into his headset while on his eighth hour of a Call of Duty marathon. Naishuller doesn’t bring the elegant coherence that Leitch and Stahelski do to their fight sequences or manage the same touch of absurdity to lighten up the brutal excesses.

What he does have is Bob Odenkirk, and watching Odenkirk join the middle-aged action hero fold is pleasurable enough to make Nobody worth the while, even if it’s an obvious echo of other, better recent films. What else have you got to watch right now, anyway? Remember movies? Dumb, fun movies? Odenkirk may have done a bunch of well-documented training for the role, but he still looks like an unremarkable guy in Nobody , someone whose fitness and general badassery did not anoint him with accompanying cool. Working as a one-man clean-up crew was apparently as much a family business as his current paper-pushing gig. Hutch’s father, David (Christopher Lloyd), lives in a retirement home but gives off hints of a storied past, while Hutch’s brother, Harry (RZA), did his own opting out by faking his death, serving mostly as a confidant and adviser over the radio. Everyone else in Hutch’s life treats him as barely visible, though the film, not always convincingly, makes gestures at this being his fault as much as anyone else’s. Hutch has, in his own words, “overcorrected,” turning himself into the parent who makes breakfast no one eats, who sensibly takes public transportation, and whose real-estate agent spouse is the more successful one in their sexless marriage.

It’d be nice if Nobody contained any trace of irony or introspection to the way it connects Hutch’s malaise to its depiction of his emasculation, or acknowledged the enduring ugliness underlying those fantasies of getting to fight off intruders coming to take what’s yours. But Odenkirk doesn’t play Hutch as a supercharged version of an angry white man looking for an excuse to shoot someone. Instead, he approaches the character as someone who misses doing the only thing he was good at, even if he doesn’t miss the life of isolation and secrecy that accompanied it. The first time his character heads out into the night, it’s to retrieve something he believes was stolen from his home in the robbery — a mission that leaves him regretful and hating himself even more. It’s on the bus ride home that he has an encounter with a group of drunken hooligans, a run-in that will spark an escalating battle with a sociopathic criminal big shot named Yulian (Aleksey Serebryakov). But there on the bus, watching those would-be toughs harass a young woman and exude trouble, Hutch starts smiling. It’s the grin of an addict committing to breaking sobriety after years. It’s the grin of someone who has finally found himself in a situation in which he has no choice but to commit violence, and the relief on Odenkirk’s face is wonderfully complicated — enough to want him to try action out again, next time in a movie that’s more than half-baked.

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Nobody Review

05 Mar 2021

Better Cull Saul, anyone? For a decade or so now, as Jimmy ‘Saul Goodman’ McGill in both Breaking Bad and its prequel, Better Call Saul , Bob Odenkirk has made talking — invariably of the fast variety — his way out of danger into an art form. When the bullets start to fly, he’ll be found running as fast as he can in the opposite direction.

That all changes with the rollocking ride that is Nobody , in which Odenkirk makes a late bid for geriaction-hero status. By the end of Ilya Naishuller ’s movie, Odenkirk has racked up a body count around the triple figure mark. He is the danger. He is the one who knocks.

That Odenkirk — with able assistance from Naishuller’s inventive staging and the action aces of David Leitch and Chad Stahelski ’s gang of cunning stunts at 87North — can cut (and shoot, and stab) the mustard is deeply impressive. It would have been easy to turn this into a parody of action films, and have the central joke be that Odenkirk’s formidable-assassin-turned-family-man Hutch Mansell is woefully out of shape, wheezing his way through fight scenes. And there is a little of that, particularly in his first outing, in which he gets as good as he gives during an intervention on public transport. Otherwise, as Hutch gets back into the swing of things, he shows a yen for meting out punishment that makes John Wick look about as intimidating as a branch of Wickes.

There’s a cartoonish quality, and even a lightness of touch, to the violence.

Invoking Wick’s name is not an accident. Not only does Leitch, who co-directed the first of the Keanu Reeves action series, produce here, but the two films share a writer: Derek Kolstad . And there’s quite a bit of shared DNA, from the basic premise to the Russian bad guys. What makes this more than just a loose remake is in the tone. While Odenkirk, deliberately, isn’t running off his motormouth, this is so much funnier than the Wick movies which, for all their stylish gunplay, have a tendency to disappear up their immaculately tailored backsides. There’s a cartoonish quality, and even a lightness of touch, to the violence in Nobody that might disappoint anyone looking for a soul-searching treatise on vigilantism and the corrosive nature of vengeance.

This will leave some cold, while its central message, that all your problems can be solved by standing up for yourself and beating the shit out of anything that moves, is on the slightly problematic side. It’s also absolutely criminal to let Odenkirk and the likes of Christopher Lloyd have fun with guns, while leaving Connie Nielsen on the sidelines in a barely written role as Hutch’s wife. But the whole thing moves so quickly it’s hard to find time to lament these failings; plus, there are lashings of style (Aleksey Serebryakov’s bad guy gets an entrance for the ages), a great soundtrack (including a needle drop that will please fans of one football team in particular), and Odenkirk at his most infectiously charismatic. And if that still doesn’t work for you, there’s a cute kitten too.

Movies | 15 02 2022

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Bob Odenkirk in Nobody. In a tight 91 minutes, without any bloat, Nobody gives us exactly what we want.

Nobody review – Bob Odenkirk betters John Wick in fun action caper

The Better Call Saul star gets a furiously entertaining star vehicle playing a suburban father who finds himself up against the Russian mob

F or any vaguely fit actor over the age of 50, being given your own Taken was briefly seen as an enviable career boost, a chance to relive former glories, a slickly choreographed leap from an early Hollywood grave back to the sandlot. Ever since Liam Neeson swapped emoting for punching back in 2008, Kevin Costner, Sean Penn, John Travolta, Pierce Brosnan and Guy Pearce all tried to do the same but audiences wisely stayed away from their sub-par shoot-em-ups and execs were forced to realise that, duh, it’s the star rather than the sub-genre that people are magnetically drawn to. Because Neeson’s shtick was continuing to bring in solid crowds while his peers were flailing and in 2014, Keanu Reeves found a similar sweet spot with John Wick, kicking off a hugely profitable new series with a Taken-adjacent combination of simple action plot and much-loved actor.

With a burning desire for some of that Wick cash (the three films in total have made over $550m worldwide with a spin-off and TV series also planned), Universal has teamed up with the film’s writer Derek Kolstad to crack open what’s clearly hoped to be a new low-budget, high-profit action universe. This time the choice of lead is based less on conventional desirability and more on unconventional durability with Better Call Saul’s Bob Odenkirk as an unassuming suburban dad hiding a dark past in Nobody, a furiously entertaining thriller that, for me, worked far more effectively than any of Keanu’s outings, a bit more character thrown in to cushion the many broken bones.

The unusual career of Odenkirk, who in his 50s has experienced an unlikely transformation from “oh that guy” character actor to Emmy-nominated lead of a hit show, makes him a compelling action hero, confident enough to command yet with a skillset that’s more extensive and more versatile than just pure physicality. He plays the improbably named Hutch Mansell, a milquetoast everyman whose daily routine has grown as tired as his chilly marriage. When his house is set upon by a couple of low-rent thieves, he’s set on a mission to right a wrong, revealing an adeptness for violence that’s been kept far away from his family.

It’s a film cooked up from some overly familiar ingredients (as well as the blood and bullets, there’s challenged masculinity, the Russian mob, a cute pet, some noirish voiceover etc) yet Kolstad, along with Hardcore Henry director Ilya Naishuller on vibrant form, finds a way to make it all feel oddly vital. There’s a simple, shaggy charm to watching Hutch rediscover his particular set of skills, kicked off by a fantastically well-designed bus sequence that sees him scrappily take on a group of obnoxious younger men. He’s an imperfect yet resilient fighter, believably hampered by age, making him a character far more thrilling to watch than say, any one of Neeson’s no-stakes superheroes.

The escalation that follows which dominoes one good deed into one savage fight into something far greater helps Nobody avoid the storytelling-by-numbers trap that so many revenge films often fall into, mimicking a video game with the hero going from one end-of-level boss to the next. The fight scenes are also awfully effective, a jolt of brutal violence captured with a specificity that allows us to keep up with every punch and kick, a base-level competency that so many action films fail to master. Perhaps the film’s greatest ace is its relative lack of smugness, Kolstad’s script briskly racing ahead without wasting time to stand back and remark on how smart and ironic it all is, quips kept to a minimum, a lesson other action screenwriters could do with learning.

Odenkirk is a surprisingly physically adept anchor and while sure, the trope of a man only really being a man when he embraces his violent side is … not great, he tries his best to work around the regressive nature of the genre, turning Hutch into a man somewhat earnestly trying to figure out the right balance of alpha and beta. There’s little to do for Connie Nielsen as his confused wife but Christopher Lloyd gets to have some fun as his gun-toting father and along with RZA as his equally armed brother, there’s an intriguing little family dynamic that will probably be explored in the inevitable sequel (Nobodies, perhaps?).

It’s all very been here, seen that yet there’s something infinitely pleasing about a film doing very little but doing it very well, knowing just how high to aim without aiming any higher, aware of exactly what it can and can’t do. In a tight 91 minutes, without any bloat, Nobody gives us exactly what we want.

Nobody is out in US cinemas on 26 March with a UK release in June

Action and adventure films
Comedy films
Christopher Lloyd
Bob Odenkirk

Metacritic reviews

88 TheWrap Alonso Duralde TheWrap Alonso Duralde Nobody is more violent lark than probing satire, but between Bob Odenkirk’s smartly underplayed performance, the surprises in the screenplay by Derek Kolstad (the “John Wick” series) and the puckishly brutal direction of Ilya Naishuller (“Hardcore Henry”), it’s a wonderfully paced and consistently clever action movie that ups the ante of a genre that’s been dominated by Liam Neeson clones.
75 Movie Nation Roger Moore Movie Nation Roger Moore There may be nothing new to Nobody. But Odenkirk & Crew make sure that this mass production action movie has plenty of bespoke fun stitched in.
75 IndieWire Eric Kohn IndieWire Eric Kohn But Nobody uses its boundaries as an asset. This giddy approach to action in place of story has held appeal ever since Wiley E. Coyote chased the Road Runner off a cliff, and Nobody lingers in a ludicrous plane that works in bite-sized pieces.
75 The Film Stage Jared Mobarak The Film Stage Jared Mobarak Odenkirk’s ability to juggle both sides of what it means to protect his loved ones does help alleviate a lot. Casting him at all in a role like this alleviates even more because it allows us to wrestle with preconceptions and enjoy the idea that you don’t have to be as big as Daniel Bernhardt’s “Bus Goon” to wreak havoc.
67 The A.V. Club A.A. Dowd The A.V. Club A.A. Dowd Make no mistake, this is pure caveman bullshit. Yet it’s caveman bullshit made with style and wit, qualities that extend from its screenplay to its performances to its staging.
63 USA Today Brian Truitt USA Today Brian Truitt Nobody fails to break a bunch of new ground transforming another normal guy into a murder machine although Odenkirk's presence does give the film a conflicted and darkly comic center. Let's hope more machine-gun antics are in his future.
60 Variety Owen Gleiberman Variety Owen Gleiberman Nobody is a thoroughly over-the-top and, at times, loony-tunes entry in the live-and-let-die vengeance-is-mine genre. Is it a good movie? Not exactly. But its 90 minutes fly by, and it’s a canny vehicle for Odenkirk, the unlikeliest star of a righteous macho bloodbath since Dustin Hoffman got his bear trap on in “Straw Dogs.”
60 Arizona Republic Bill Goodykoontz Arizona Republic Bill Goodykoontz It’s all insanely violent and gleefully silly. Stab wounds and bullet holes just don’t slow some people down the way you think they might. Through it all the best part of the film remains the dichotomy of a bland wimp (a character Odenkirk plays so well) who can flip the switch to becoming a remorseless killer — and seeing Odenkirk as the one flipping the switch.
50 Screen Rant Chris Agar Screen Rant Chris Agar Instead of being the next John Wick, Nobody plays out more as John Wick lite, which could be disappointing for some. It's fun to see Odenkirk try something new at this stage in his career, and Nobody clearly knows what it is and never takes itself too seriously (see: the moments of levity, the soundtrack full of licensed classics). Still, these merits don't truly help elevate the final product beyond fleeting entertainment.
38 Slant Magazine Chuck Bowen Slant Magazine Chuck Bowen The film offers chaos by the yard with no real stakes or emotional reverberations.
See all 43 reviews on Metacritic.com
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Stream It Or Skip It: ‘Nobody’ on HBO Max, a Violently Funny Action-Comedy in Which Bob Odenkirk Gets His John Wick On

Where to stream:.

Nobody (2021)
Action Movies

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Now on HBO Max after a theatrical run in early 2021, Nobody is a wiseass action movie starring Bob Odenkirk, the longtime funnyman character actor (and comedy writer, don’t forget) who broke big playing iconically sleazy lawyer Saul Goodman in Breaking Bad and Better Call Saul . Casting him as the lead in a what-if- John Wick -was-a-comedy exercise — scripted by Wick writer Derek Kolstad, notably — surely plays against type, but most of the fun here is seeing Odenkirk go brutal while playing a schmuck who turns out to be not much of a schmuck after all.

NOBODY : STREAM IT OR SKIP IT?

The Gist: Punk-rock icon Henry Rollins once wrote a nasty little screed titled “Family Man” featuring the seething line, “family man, I want to crucify you on your front door with nails from your well-stocked garage.” Well, Hutch Mansell (Odenkirk) has a well-stocked garage. His suburban-dad routine is numbing bullshit: Bus, desk, spreadsheet, dinner, take out the trash, no sex with his wife (Connie Nielsen), wake up, bus, repeat, repeat, repeat. He can do an impressive number of pull ups though, which makes us pause.

One night two armed burglars break into the house. His teenage son (Gage Munroe) tackles one, and he stops himself from whanging a golf club against the other one’s skull. The thieves get away. Hutch used restraint. He chose to de-escalate. He chose peace over violence. He did the wise, reasonable thing, like a total complete utter wimp. And now, his wife stacks 18 inches of pillows between them in bed.

Hutch sinks low. He’s a military veteran, but was just an auditor. So his son instead writes about his uncle for a school assignment, because he was “a real soldier.” His young daughter laments that the robbers took her kittycat bracelet, and that seems to be Hutch’s last straw. Hoping to find the perps, he starts turning over stones, and that’s when you get the feeling he’s going to find a big ugly squirming grub under there — but surprise, he’s not the type to run screaming from some larvae. Oh no. He’s on the bus late at night and five drunk young thug types get on and eyeball a young woman, and that’s just the thing to scratch Hutch’s itch. He takes a few punches and gets moderately stabbed, but you should see the other guys. A few fractured noses, busted arms, smashed windpipes, gruesome dislocations and other miscellaneous injuries later, it seems as if a long-dormant beast inside Hutch is starting to Hulk the f— out.

What Movies Will It Remind You Of?: Nobody blends Wick isms with the protective-father fodder of Taken and the I’M-NOT-IMPOTENT insistence of male-rage sagas like Falling Down and Death Wish .

Performance Worth Watching: Odenkirk is perfect here. PERFECT. You loved him before, and after this, you’ll love him more.

Memorable Dialogue: Hutch, in voiceover, staring down five assailants: “I hope these assholes like hospital food.”

Sex and Skin: None, although I imagine our boy Hutch surely gets a little somethin’ after the credits roll.

Our Take: Is Nobody satire or male revenge-fantasy fodder or violence for violence’s sake? Yes, yes and yes. It begins by skewering a dichotomy: the emasculated male who does the right thing for the betterment of his family and the collective human experience, and is rejected by the world for it. This conundrum is presented as idealism vs. cruel reality, a twisted commentary on the state of pacifism in the face of the ugly truth. Fodder to ponder, no doubt — and the next thing you know, we’re laughing our asses off as we watch Odenkirk put some deserving shitbirds in traction, which is the kind of thing we among the middle-aged laundry-folding flabby-midsection men wish we could do, the fantasy we indulge while we yank and yank and yank and can’t get the goddamn mower to start, forcing us to smack it with the socket wrench we barely know how to use and give up and call a mechanic. (Maybe I’m seeing more of myself in this than I’d care to admit?)

There’s a great scene here in which Hutch interacts with a neighbor who struts his testosterone-fueled manhood by showing off a vintage muscle car he inherited from his dad, who he says wasn’t much of a father, which surely explains the guy’s macho-braggart tone (“It goes zero to 60 in I’M ABOUT TO FIND OUT!”). It goes without saying that this guy’s car is better than Hutch’s car by about 300 horsepower. Contrast that with the moment where Hutch’s daughter, who’s maybe seven or eight, is the only person in his life who shows any faith or confidence in him. “You scared?” he asks, and she replies, “Why would I be? You’re here.” She really wants a kitten, and he agrees. There’s no reason he can’t find the sweet spot between alpha and beta.

Of course, all this is sort of undermined by the second and third acts, when we learn that Hutch is much more than just a khaki-pantsed milksop and has a secret past as a bulletproof hero, which exactly zero of us are. Director Ilya Naishuller ( Hardcore Henry ) drops the yimmer-yammer inner-life self-analytical crapola — go tell it ta ya analyst, ya crybaby — and delivers satisfyingly visceral action as Hutch seeks to ruthlessly exterminate a bevy of ruthless Russian mobsters in order to keep his wife and kids safe (with a little help from Christopher Lloyd, who steals a scene or two playing Hutch’s pops). Slightly muddying the message doesn’t stop Nobody from being a consistently amusing, fast-paced slice of neo-genre entertainment that kind of irresponsibly asserts that violence begetting violence is perfectly fine if it’s set to a killer soundtrack (Pat Benatar!) and represented by a guy who can be funny and tough as leather at the same time. Got it: Tongues firmly in cheeks then.

Our Call: STREAM IT, then go chug some brewskis. Nobody is wild, OTT fun that might not work without Odenkirk’s full-bore performance.

Funnyman @mrbobodenkirk gets his John Wick on in #NobodyMovie , out today on VOD. But should you STREAM IT or SKIP IT? #SIOSI — Decider (@decider) April 16, 2021

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at johnserbaatlarge.com or follow him on Twitter: @johnserba .

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Flickering Myth

Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – Nobody (2021)

June 8, 2021 by Martin Carr

Nobody , 2021.

Directed by Ilya Naishuller. Starring Bob Odenkirk, Connie Nielsen, Aleksey Serebryakov, RZA and Christopher Lloyd.

Hutch (Bob Odenkirk) works a desk job, is settled into domestic life and never puts the rubbish out. After a domestic disturbance leaves him emasculated, he decides to take matters into his own hands.

Bob Odenkirk is a solid character actor renowned for playing one role. That this has gradually turned him into a household name, has also inadvertently defined him in public minds. Low rent attorney at law Saul Goodman became as integral to Breaking Bad as Walter White or Jesse Pinkman. This low rent huckster knew every angle, hustled every instinct and gifted Bob Odenkirk a subtle character study that was proving hard to shake.

What Nobody does is bury Saul Goodman in a shallow grave under an overpass. After twenty minutes banishment is complete, as Hutch Mansell emerges from the ashes part everyman and action star in waiting. Director Ilya Naishuller cuts to the chase in this embryonic opening, mapping out routine, establishing persona and impressing on audiences Hutch’s numerous inadequacies.

Days are timestamped, character flaws are exemplified and the mundane drudge of a loveless marriage are made apparent. In the initial set up Connie Nielsen and Bob Odenkirk downplay any intimacy, while visual cues underline their emotional disparity. However, as this comes from the same stable as John Wick , there is an anticipation to this opening that comes with expectations. Expectations that include body counts, pithy one liners and domestic carnage.

Thankfully audiences are well rewarded with a contrived but satisfying resurrection, that happens on a bus after a bad day. As brutality unravels up close and includes a severed handrail, Nobody kicks into gear. What Bob Odenkirk does so well is sell the action, convince the audience and take his punishment. Choreography is intentionally messy; action sequences are cleverly subverted and everyone has some serious fun.

Aleksey Serebryakov breathes life into a flamboyant Serbian gangster and Christopher Lloyd brandishes a shotgun. There are comedic beats amongst the debris and even a little sequel set up which feels earned. Coming in at bang on ninety minutes as well, means nobody out stays their welcome. Like a suburban sleeper cell or Jason Bourne throwback, Hutch crosses over the line between family man and assassin at several points whilst keeping audiences on side.

In many ways the affability of its star plays into that, just as Keanu Reeves managed a similar trick with his erstwhile hitman in retirement. Although the pivotal plot point which ignites that metaphorical fire under Hutch is slight, Bob Odenkirk fully commits taking audiences with him. Nobody might be packed to the gunnels with genre tropes, action cliches and emotional triggers but it works.

Unapologetic, intentionally disruptive and grounded by a persuasive performance, Nobody demonstrates that Liam Neeson is no longer cornering the market when it comes to action star reinvention.

Nobody is in UK cinemas from June 9th.

Flickering Myth Rating – Film ★ ★ ★ ★ / Movie ★ ★ ★ ★

Martin Carr

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Review by Brian Eggert April 20, 2021

Nobody features a blend of action hero tropes. Some action heroes are the unstoppable type; usually, an elite soldier or mysterious hitman who trained with the best, has a mythical status, and keeps coming until the job’s done or because this time it’s personal . Think Arnold Schwarzenegger in Predator (1987), Keanu Reeves in John Wick (2014), or Charlize Theron in Atomic Blonde (2017)—heroes who dodge bullets by the thousands, rack up a body count in the dozens, and come away mostly unscathed. Alternatively, there’s the everyman typified by Bruce Willis in Die Hard (1988) or Harrison Ford in Raiders of the Lost Ark (1980). They’re in the wrong place at the wrong time, often in over their head, and usually trying to reclaim their masculinity—and in the end, they look bruised, banged up, and generally put through the meat grinder. Bob Odenkirk’s character in Nobody has elements of both the unstoppable and the emasculated everyman. The dynamic becomes a showcase for the Breaking Bad and Better Call Saul star, who has transformed from a comedian into an action hero in the last thirty years.

Odenkirk plays Hutch, a suburbanite whose soul has been thoroughly crushed by his humdrum routine. The snappy opening montage fragments Hutch’s life into repetitious, monotonous images—every day, the same morning coffee, the same commute, the same spreadsheets at his in-laws’ company, the same bed divider that perpetuates his sexless marriage to Rebecca (the refreshingly age-appropriate Connie Nielson). Then something breaks in Hutch’s routine. Two hapless intruders break into his home at night. His teenage son Brady (Gage Munroe) tackles one of them, but something prevents Hutch from braining the other with a golf club. And it’s just another reason for Hutch’s wife and son, and even the police who arrive at the scene, to pity him. Fortunately, his daughter is too young to recognize that her father is a disappointment. Not even Hutch’s military record inspires confidence; he was an auditor, not a “real soldier,” Rebecca explains to Brady.

The incident awakens something inside of Hutch and, for a short time, Nobody seems like it might play out similarly to Death Wish (1974), in which criminals messed with the wrong Average Joe, turning Dad into Rambo. Hutch visits his father (Christopher Lloyd), a retired FBI agent, takes his old badge, and sets out to find his daughter’s kitty-cat bracelet, which he thinks was stolen by the thieves. But then a crucial moment comes when it’s revealed that Hutch isn’t an everyman; rather, he’s an ex-killing machine who has tried to retire into a quiet life. What begins as a simple catharsis of beating up some nogoodniks on a city bus (set to the song “I’ve Gotta Be Me,” putting a fine point on the reclaimed masculine pride theme) escalates into a war with the Russian mob, headed by the merciless, karaoke-singing Yulan (Alexey Serebryakov). Backed by an endless supply of goons, Yulan sends his small army to Hutch’s home, starting a war that reaches a bloody, Home Alone -style climax in an industrial factory.

No wonder Derek Kolstad, architect of the John Wick franchise, wrote the screenplay. Hutch operates with the skill of Wick and, like Reeves’ character, is goaded into a face-off against a whole cadre of anonymous Russians. Except, where Wick distributes headshots with almost mechanical precision, Hutch has the physical vulnerability of Die Hard ’s bare-footed John McClane, making the character feel more human. Odenkirk takes some painful-looking beatings (not to mention the occasional knife and bullet) in the movie’s energetic combat, choreographed to visceral perfection and captured with frenzied clarity by director Ilya Naishuller—particularly in the deliriously violent bus fight. The gunplay, too, resists the martial arts ballet of the John Wick movies and instead recalls something brutalist by Paul Verhoeven, where every punch and bullet looks like it hurts. Naishuller also made the disappointing Hardcore Henry (2016), a relentless shoot-em-up that nonetheless signaled his talent for orchestrating chaotic action and making it seem scrappy yet coherent.

The director’s knack for bravado action shines in part because Kolstad’s script makes us care about Hutch, but we only care because he is perfectly cast. Place another actor in the role—anyone from Liam Neeson to today’s inexpressive Bruce Willis—and suddenly Hutch doesn’t seem real or sympathetic. He is, after all, a rather vicious action junkie on a rampage, even though he performs a life-saving tracheotomy after breaking one thug’s windpipe. Odenkirk’s comic sensibilities lend his character appealing deadpan humor that turns otherwise macho lines (“Give me the fucking kitty-cat bracelet!” or “I’m gonna fuck you up!”) into ironic moments of Hutch’s aggressive humanity clawing its way to the surface. Alternatively, in a hilarious and aching pattern, Hutch monologues to the hired thugs, whom he’s just beaten to within an inch of their lives, and confesses his motivations for retiring as an auditor—named as such because he’s “the last guy anyone wants to see at their door.” But before he can finish his story, the thugs die, leaving his backstory incomplete and his existential crisis humorously unresolved. It’s a macabre joke for a darkly funny movie, yet it speaks to Hutch’s essential humanness and makes 92 minutes of extreme violence not without motivations rooted in its character.

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Nobody Movie Review & Summary: Bob Odenkirk Goes Ham In This Bloodbath

Nobody is crazy fun when it comes to unique and well thought out action. Its filled with guts, blood and a version of Bob Odenkirk which is unseen and unheard of before.

Nobody Movie Plot

Nobody revolves around a retired Auditor, Hutch Mansell who gets back into the bloodshed business to vent out years’ worth of gruelling endurance and anger. It all begins over a kitty cat bracelet.

Nobody Movie Cast

Bob Odenkirk as Hutch Mansell
Aleksey Serebryakov as Yulian Kuznetsov
Connie Nielsen as Becca Mansell
Christopher Lloyd as David Mansell
RZA as Harry Mansell

Nobody Movie Review

Nobody is the reason why action films should just be handed over to Russian directors from this point onward. Starring Bob Odenkirk, Nobody is everything you can possibly want an action movie to be. It’s Fast Paced, pretty freaking violent and it doesn’t take itself seriously. It has some of the most well-crafted and choreographed action I have seen since a long time, and I don’t want to necessarily base my opinions on comparisons, but John Wick looks pretty childish compared to the kind of gore we see in Nobody. The plot is, well, there’s something there alright. It’s as straightforward as it gets, and while I necessarily wasn’t a huge fan of it, I also didn’t go into this movie expecting something unwantedly deep. I craved to see some action and oh boy did I get to see just that. Bob Odenkirk sure devoted his entire career towards Saul Goodman, and when you finally see him in this role, you will know that he slides into Hutch’s shoes like butter.

Nobody follows Hutch Mansell (Played by Bob Odenkirk), a retired “Auditor”, who now has a family of his own. He gets up to his same old routine, does his same old chores and goes back to his same old life, each and every passing day. It’s almost like his life is already scripted and anything out of place would just disturb the momentum of his gruelling journey to death. What he lacks in his outer life, he can’t compensate in his home. There’s a sense of dried out love between him and his wife Becca Mansel (Played by Connie Nielsen), and a lost respect in his son’s eyes. But one fine night, two burglars break into his home, rob him and apparently steal his daughter’s kitty cat bracelet. He has every chance to hit them where it hurts, yet he chooses not to vent his months of patience and anger on the thieves who brought an empty gun to a robbery. But when he learns that the bracelet has gone missing, you know he is about to go crazy on them. And thus begins the rebirth of the Auditor.

Bob Odenkirk in a still from Nobody Film

Nobody Movie: Gore and Clever Action Combined

The fight sequences in this movie beat anything that I have ever laid my eyes on. The sheer brutality of each punch, each stab and each bullet can be heard and felt all the same. The Bus Fight sequence is when, according to the words of Hutch, God opens a door to a long-compressed side of him. This door lets out an animal, who has missed beating as much as he missed getting beaten. One punch to the face, he receives two in return. But after the next punch he delivers, there is no one left to punch him twice anymore.

Blood splatter on the glasses and on the seats like a rainy puddle. Hutch not only defends the set of moves coming towards him, but he more than once, retaliates by using that same move to his advantage. Be it an Alcohol Bottle, a Knife or a Straw, the choreography of this movie takes advantage of any and every prop possible. It’s the kind of action which gets pretty creative, but has a two-sided gore angle to it, which will never make you feel like you are watching something formulaic or choreographed. The fist fights get nasty and take their time. Characters take breaks in between, and get bloodier as the fight progresses. From almost killing a man with a Bus Railing to saving him with a freaking Straw, I feel like this has the potential to become just as iconic as the Pencil incident of John Wick, but with a different perspective.

Nobody Movie: Bob Odenkirk, You Beauty

We see that his brother Harry (Played by RZA) and father David (Played by Christopher Lloyd) are familiar with the same line of work. The dynamic between the three of these characters resulted in some of the most far out and insanely fun scenes in the movie. Every person in this family knows how to kick bottoms. Bob Odenkirk is one man who understood the assignment. He has truly changed his entire persona with a single movie and that is saying a lot. I feel like he has virtually bashed every bit of typecasting he might have ever faced with Hutch Mansell and his beautiful badassery. To watch him do these insane stunts and absorb all those gut punches was truly glorious to say the least. And I really enjoyed what kind of a person Hutch really is. His intentions aren’t complex, his methods aren’t filled with long drawn plans, but his ruthlessness is enough for him to find his way out of any situation he might get himself in. The relationship between him and his wife felt neglected however. And every argument about this movie not having that sense of Introspection, comes from the right place and I ain’t denying that. But I also fear that bringing complexity into these characters would have stretched out a face paced action bonanza. Ilya Naishuller packs this film to the brim with thrilling and exhilarating sequences that I never got the chance of even criticizing the lack of depth. The way it integrates action with cleverness is remarkable and that R-Rated Home Alone climax of this film was the most fun I have had while watching a movie for a long long time.

Nobody is a gut filled adventure ride, where Bob Odenkirk grips you and punches you for ever thinking that Saul Goodman would be his best work. He has truly worked hard for this role and it bloody shows. My tipping towards this genre in general might come off as biased, considering how much of a fan I am of good, fast paced combat, but I don’t think anyone will come out of Nobody unentertained. I have a tolerance towards violence, but even I squinted a bit when things got particularly bloody. At this point, I only hope they make a franchise out of this or somehow integrate this into the John Wick universe, god that would be a dream, wouldn’t it?

Nobody Movie Critical Reception

Nobody stands on 82% in Rotten Tomatoes with the consensus being, “Nobody doesn’t break any new ground for the genre, but this viscerally violent thriller smashes, shatters, and destroys plenty of other things — all while proving Bob Odenkirk has what it takes to be an action star.” Its Metascore is at 66 with generally favorable reviews based on 38 Critic Reviews.

The Movie Culture Synopsis

Nobody is one of the best action movies to come out in 2021 and it sets off an insane character, helmed by the insanely talented Bob Odenkirk. I can’t wait to see what they do with this franchise; god knows how I want them to bring in John Wick somehow, but we have a long way to go before that.

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Netflix’s best new, overlooked action movie is a must-watch.

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While I am very happy that so many are taking my advice to watch the so-bad-it’s-actually-amazing Madame Web on Netflix, I want to pivot a minute and give a more serious recommendation.

Netflix has landed a few new licensed films besides that recently, and there is one that I think you should check out that you may not have seen, or really even heard of, given how low it flew under the radar.

That would be Upgrade, the 2018 feature that is currently #3 on the service. It’s an R-rated action film based on a fascinating concept. In it, a paralyzed man is given an AI implant that will enhance his body beyond its former capabilities, and it allows him superhuman speed and strength to get revenge on the people who killed his wife. But if you let an AI into your body, you may understand that some…bad things may happen.

The film has a relatively unknown cast, with the “oh it’s that guy” star of Logan Marshall-Green, who has appeared in projects like Prometheus and Spider-Man Homecoming (he was Shocker). I know him best for playing Ryan’s brother in The OC, after the character was recast between seasons. Don’t look up how many years ago that was if you don’t want to feel old. Marshall-Green does great work here in a role that requires a ton of physical exertion in the weird ways the AI controls his body during action scenes (and no doubt he had help from a big stunt team). Director Leigh Whannell also directed the very-good Invisible Man in 2020.

The Best Gaming Mouse That’ll Improve Your Aim

Upgrade was well-reviewed by both critics and audiences with an 88% score on Rotten Tomatoes from both. The film made relatively little money in theaters. It opened to $4.6 million and did not manage to get more than $16 million globally. However, the movie allegedly cost only $3 million to make, so it turned a profit, it seems. Now, it’s being watched by millions on Netflix and yes, that should include you.

There was never a sequel to Upgrade, despite the fact that it seems like it could have gotten one. It’s not impossible a resurgence of popularity on Netflix could help spark such a thing, but I wouldn’t hold your breath. If I had to compare it to other films, it’s in the vein of something like Nobody or even Taken, a one-man wrecking crew of revenge, albeit this time around with a sci-fi twist. I’m not going to compare it to John Wick, it’s not like John Wick. Everything is compared to John Wick now.

Upgrade is also a breeze watch at just an hour and a half long, no sprawling blockbuster running time here. It’s very violent, so it may not be for everyone, but I’m going to recommend it to all action/sci-fi fans for sure, and I’m about to give it a rewatch myself.

Follow me on Twitter , Threads , YouTube , and Instagram .

Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy .

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The 25 Best Movies Based on Religious Texts

Posted: May 24, 2024 | Last updated: May 24, 2024

<p>There was an epic movie released in 1965 that followed events in the life of Jesus Christ, from birth to death, with a cast of mid-20th-century all-stars including Max von Sydow, Charlton Heston, Dorothy McGuire, Roddy McDowall, and José Ferrer. It was called "The Greatest Story Ever Told."</p> <p>Of course, that assessment depends very much on your religious (and probably literary) beliefs, but nobody can deny that the Bible — both the Old and New Testaments — is full of great tales.</p> <p>These tales include the drama of creation, accounts of exile and homecoming, the memorable depictions of Moses parting the Red Sea and Noah and the Ark, and the destruction of Sodom and Gomorrah; themes of death, seduction, betrayal, love, and redemption abound.</p> <p>In addition, both the Old and New Testaments have infused our language with common phrases like "the writing on the wall," "the lion's den," "walking on water," "forbidden fruit," "sign of the times," "salt of the earth," "the powers that be," "rise and shine," and even "eat, drink, and be merry." We are all most likely somehow influenced by the Bible, whether we're aware of it or not.</p> <p>It's no wonder that so many moviemakers have been drawn to the Bible as a source of inspiration over the years. Sometimes following the texts closely, sometimes offering alternative interpretations of events, many directors have either tackled individual Bible stories or staged broad, sweeping panoramas of Biblical times.</p> <p>Major stars over the decades have portrayed key figures in the Bible — not only those mentioned above but also Gregory Peck, Richard Burton, Anthony Hopkins, Russell Crowe, Christian Bale, and many more — sometimes even appearing as Jesus Christ himself. Even those viewers with no particular religious beliefs are likely to have been stirred by the sheer majesty and drama of many of these films.</p> <p>It should be noted that one of the films listed here — "Hercules" — is not taken from a specific religious text, but rather is drawn from Roman mythology, expressed in numerous works over the centuries. The rest are all derived from the Bible — including a musical and an animated comedy. (After this article, check out 37 of the <a href="https://247tempo.com/iconic-bible-quotes/?utm_source=msn&utm_medium=referral&utm_campaign=msn&utm_content=iconic-bible-quotes&wsrlui=47432211" rel="noopener">most iconic Bible quotes</a>.)</p> <p><strong>Methodology:</strong></p> <p>To determine the best movies based on religious texts, 24/7 Tempo developed an index using average ratings on <a href="https://www.imdb.com/" rel="noopener">IMDb</a>, an online movie database owned by Amazon, and a combination of audience scores and Tomatometer scores on <a href="https://www.rottentomatoes.com/" rel="noopener">Rotten Tomatoes</a>, an online movie and TV review aggregator, as of May 2024, weighting all ratings equally. Documentaries were not considered. Cast information is from IMDb.</p>

There was an epic movie released in 1965 that followed events in the life of Jesus Christ, from birth to death, with a cast of mid-20th-century all-stars including Max von Sydow, Charlton Heston, Dorothy McGuire, Roddy McDowall, and José Ferrer. It was called "The Greatest Story Ever Told."

Of course, that assessment depends very much on your religious (and probably literary) beliefs, but nobody can deny that the Bible — both the Old and New Testaments — is full of great tales.

These tales include the drama of creation, accounts of exile and homecoming, the memorable depictions of Moses parting the Red Sea and Noah and the Ark, and the destruction of Sodom and Gomorrah; themes of death, seduction, betrayal, love, and redemption abound.

In addition, both the Old and New Testaments have infused our language with common phrases like "the writing on the wall," "the lion's den," "walking on water," "forbidden fruit," "sign of the times," "salt of the earth," "the powers that be," "rise and shine," and even "eat, drink, and be merry." We are all most likely somehow influenced by the Bible, whether we're aware of it or not.

It's no wonder that so many moviemakers have been drawn to the Bible as a source of inspiration over the years. Sometimes following the texts closely, sometimes offering alternative interpretations of events, many directors have either tackled individual Bible stories or staged broad, sweeping panoramas of Biblical times.

Major stars over the decades have portrayed key figures in the Bible — not only those mentioned above but also Gregory Peck, Richard Burton, Anthony Hopkins, Russell Crowe, Christian Bale, and many more — sometimes even appearing as Jesus Christ himself. Even those viewers with no particular religious beliefs are likely to have been stirred by the sheer majesty and drama of many of these films.

It should be noted that one of the films listed here — "Hercules" — is not taken from a specific religious text, but rather is drawn from Roman mythology, expressed in numerous works over the centuries. The rest are all derived from the Bible — including a musical and an animated comedy. (After this article, check out 37 of the most iconic Bible quotes .)

Methodology:

To determine the best movies based on religious texts, 24/7 Tempo developed an index using average ratings on IMDb , an online movie database owned by Amazon, and a combination of audience scores and Tomatometer scores on Rotten Tomatoes , an online movie and TV review aggregator, as of May 2024, weighting all ratings equally. Documentaries were not considered. Cast information is from IMDb.

<ul> <li><strong>IMDb user rating:</strong> 2.9/10 (2,424 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 54% (2,764 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 18% (22 reviews)</li> <li><strong>Cast:</strong> Ben Kingsley, Christian Slater, Elliott Gould</li> </ul>

25. The Ten Commandments (2007)

IMDb user rating: 2.9/10 (2,424 votes)
Rotten Tomatoes audience score: 54% (2,764 votes)
Rotten Tomatoes Tomatometer score: 18% (22 reviews)
Cast: Ben Kingsley, Christian Slater, Elliott Gould

<ul> <li><strong>IMDb user rating:</strong> 6.0/10 (163,606 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 35% (60,096 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 30% (210 reviews)</li> <li><strong>Cast:</strong> Christian Bale, Joel Edgerton, Ben Kingsley</li> </ul>

24. Exodus: Gods and Kings (2014)

IMDb user rating: 6.0/10 (163,606 votes)
Rotten Tomatoes audience score: 35% (60,096 votes)
Rotten Tomatoes Tomatometer score: 30% (210 reviews)
Cast: Christian Bale, Joel Edgerton, Ben Kingsley

<ul> <li><strong>IMDb user rating:</strong> 6.2/10 (3,140 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 55% (962 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 14% (7 reviews)</li> <li><strong>Cast:</strong> Yul Brynner, Gina Lollobrigida, George Sanders</li> </ul>

23. Solomon and Sheba (1959)

IMDb user rating: 6.2/10 (3,140 votes)
Rotten Tomatoes audience score: 55% (962 votes)
Rotten Tomatoes Tomatometer score: 14% (7 reviews)
Cast: Yul Brynner, Gina Lollobrigida, George Sanders

<ul> <li><strong>IMDb user rating:</strong> 5.7/10 (18,717 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 73% (41,683 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 21% (73 reviews)</li> <li><strong>Cast:</strong> Diogo Morgado, Amber Rose Revah, Greg Hicks</li> </ul>

22. Son of God (2014)

IMDb user rating: 5.7/10 (18,717 votes)
Rotten Tomatoes audience score: 73% (41,683 votes)
Rotten Tomatoes Tomatometer score: 21% (73 reviews)
Cast: Diogo Morgado, Amber Rose Revah, Greg Hicks

<ul> <li><strong>IMDb user rating:</strong> 5.9/10 (9,557 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 48% (257 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 44% (113 reviews)</li> <li><strong>Cast:</strong> Rooney Mara, Joaquin Phoenix, Chiwetel Ejiofor</li> </ul>

21. Mary Magdalene (2018)

IMDb user rating: 5.9/10 (9,557 votes)
Rotten Tomatoes audience score: 48% (257 votes)
Rotten Tomatoes Tomatometer score: 44% (113 reviews)
Cast: Rooney Mara, Joaquin Phoenix, Chiwetel Ejiofor

20. The Bible: In the Beginning… (1966)

IMDb user rating: 6.3/10 (5,219 votes)
Rotten Tomatoes audience score: 55% (8,490 votes)
Rotten Tomatoes Tomatometer score: 33% (6 reviews)
Cast: Michael Parks, Ulla Bergryd, Richard Harris

<ul> <li><strong>IMDb user rating:</strong> 6.0/10 (7,394 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 78% (31,224 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 19% (26 reviews)</li> <li><strong>Cast:</strong> Tiffany Dupont, Luke Goss, John Noble</li> </ul>

19. One Night with the King (2006)

IMDb user rating: 6.0/10 (7,394 votes)
Rotten Tomatoes audience score: 78% (31,224 votes)
Rotten Tomatoes Tomatometer score: 19% (26 reviews)
Cast: Tiffany Dupont, Luke Goss, John Noble

<ul> <li><strong>IMDb user rating:</strong> 6.8/10 (9,924 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 69% (6,026 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 32% (19 reviews)</li> <li><strong>Cast:</strong> Richard Burton, Jean Simmons, Victor Mature</li> </ul>

18. The Robe (1953)

IMDb user rating: 6.8/10 (9,924 votes)
Rotten Tomatoes audience score: 69% (6,026 votes)
Rotten Tomatoes Tomatometer score: 32% (19 reviews)
Cast: Richard Burton, Jean Simmons, Victor Mature

<ul> <li><strong>IMDb user rating:</strong> 5.7/10 (248,729 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 41% (122,339 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 76% (261 reviews)</li> <li><strong>Cast:</strong> Russell Crowe, Jennifer Connelly, Anthony Hopkins</li> </ul>

17. Noah (2014)

IMDb user rating: 5.7/10 (248,729 votes)
Rotten Tomatoes audience score: 41% (122,339 votes)
Rotten Tomatoes Tomatometer score: 76% (261 reviews)
Cast: Russell Crowe, Jennifer Connelly, Anthony Hopkins

<ul> <li><strong>IMDb user rating:</strong> 6.6/10 (11,969 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 64% (5,000 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 42% (24 reviews)</li> <li><strong>Cast:</strong> Max von Sydow, Dorothy McGuire, Charlton Heston</li> </ul>

16. The Greatest Story Ever Told (1965)

IMDb user rating: 6.6/10 (11,969 votes)
Rotten Tomatoes audience score: 64% (5,000 votes)
Rotten Tomatoes Tomatometer score: 42% (24 reviews)
Cast: Max von Sydow, Dorothy McGuire, Charlton Heston

<ul> <li><strong>IMDb user rating:</strong> 6.1/10 (2,281 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 32% (417 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 83% (6 reviews)</li> <li><strong>Cast:</strong> Gregory Peck, Susan Hayward, Raymond Massey</li> </ul>

15. David and Bathsheba (1951)

IMDb user rating: 6.1/10 (2,281 votes)
Rotten Tomatoes audience score: 32% (417 votes)
Rotten Tomatoes Tomatometer score: 83% (6 reviews)
Cast: Gregory Peck, Susan Hayward, Raymond Massey

<ul> <li><strong>IMDb user rating:</strong> 6.3/10 (7,319 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 70% (3,001 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 43% (53 reviews)</li> <li><strong>Cast:</strong> Steven Yeun, Keegan-Michael Key, Aidy Bryant</li> </ul>

14. The Star (2017)

IMDb user rating: 6.3/10 (7,319 votes)
Rotten Tomatoes audience score: 70% (3,001 votes)
Rotten Tomatoes Tomatometer score: 43% (53 reviews)
Cast: Steven Yeun, Keegan-Michael Key, Aidy Bryant

<ul> <li><strong>IMDb user rating:</strong> 6.8/10 (11,199 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 76% (82,860 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 37% (131 reviews)</li> <li><strong>Cast:</strong> Keisha Castle-Hughes, Shohreh Aghdashloo, Oscar Isaac</li> </ul>

13. The Nativity Story (2006)

IMDb user rating: 6.8/10 (11,199 votes)
Rotten Tomatoes audience score: 76% (82,860 votes)
Rotten Tomatoes Tomatometer score: 37% (131 reviews)
Cast: Keisha Castle-Hughes, Shohreh Aghdashloo, Oscar Isaac

<ul> <li><strong>IMDb user rating:</strong> 6.3/10 (26,910 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 70% (16,290 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 53% (132 reviews)</li> <li><strong>Cast:</strong> Joseph Fiennes, Tom Felton, Peter Firth</li> </ul>

12. Risen (2016)

IMDb user rating: 6.3/10 (26,910 votes)
Rotten Tomatoes audience score: 70% (16,290 votes)
Rotten Tomatoes Tomatometer score: 53% (132 reviews)
Cast: Joseph Fiennes, Tom Felton, Peter Firth

<ul> <li><strong>IMDb user rating:</strong> 6.8/10 (7,602 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 59% (2,081 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 63% (8 reviews)</li> <li><strong>Cast:</strong> Hedy Lamarr, Victor Mature, George Sanders</li> </ul>

11. Samson and Delilah (1949)

IMDb user rating: 6.8/10 (7,602 votes)
Rotten Tomatoes audience score: 59% (2,081 votes)
Rotten Tomatoes Tomatometer score: 63% (8 reviews)
Cast: Hedy Lamarr, Victor Mature, George Sanders

<ul> <li><strong>IMDb user rating:</strong> 6.7/10 (8,086 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 80% (1,646 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 46% (39 reviews)</li> <li><strong>Cast:</strong> Jim Caviezel, James Faulkner, Olivier Martinez</li> </ul>

10. Paul, Apostle of Christ (2018)

IMDb user rating: 6.7/10 (8,086 votes)
Rotten Tomatoes audience score: 80% (1,646 votes)
Rotten Tomatoes Tomatometer score: 46% (39 reviews)
Cast: Jim Caviezel, James Faulkner, Olivier Martinez

<ul> <li><strong>IMDb user rating:</strong> 7.2/10 (233,592 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 80% (369,517 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 49% (280 reviews)</li> <li><strong>Cast:</strong> Jim Caviezel, Monica Bellucci, Maia Morgenstern</li> </ul>

9. The Passion of the Christ (2004)

IMDb user rating: 7.2/10 (233,592 votes)
Rotten Tomatoes audience score: 80% (369,517 votes)
Rotten Tomatoes Tomatometer score: 49% (280 reviews)
Cast: Jim Caviezel, Monica Bellucci, Maia Morgenstern

<ul> <li><strong>IMDb user rating:</strong> 7.4/10 (26,227 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 76% (36,397 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 52% (25 reviews)</li> <li><strong>Cast:</strong> Ted Neeley, Carl Anderson, Yvonne Elliman</li> </ul>

8. Jesus Christ Superstar (1973)

IMDb user rating: 7.4/10 (26,227 votes)
Rotten Tomatoes audience score: 76% (36,397 votes)
Rotten Tomatoes Tomatometer score: 52% (25 reviews)
Cast: Ted Neeley, Carl Anderson, Yvonne Elliman

<ul> <li><strong>IMDb user rating:</strong> 6.5/10 (4,087 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 74% (23,646 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 66% (56 reviews)</li> <li><strong>Cast:</strong> Phil Vischer, Mike Nawrocki, Tim Hodge</li> </ul>

7. Jonah: A VeggieTales Movie (2002)

IMDb user rating: 6.5/10 (4,087 votes)
Rotten Tomatoes audience score: 74% (23,646 votes)
Rotten Tomatoes Tomatometer score: 66% (56 reviews)
Cast: Phil Vischer, Mike Nawrocki, Tim Hodge

<ul> <li><strong>IMDb user rating:</strong> 7.7/10 (4,038 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 89% (1,260 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 38% (48 reviews)</li> <li><strong>Cast:</strong> Henry Ian Cusick, Daniel Kash, Christopher Plummer</li> </ul>

6. The Gospel of John (2003)

IMDb user rating: 7.7/10 (4,038 votes)
Rotten Tomatoes audience score: 89% (1,260 votes)
Rotten Tomatoes Tomatometer score: 38% (48 reviews)
Cast: Henry Ian Cusick, Daniel Kash, Christopher Plummer

<ul> <li><strong>IMDb user rating:</strong> 7.2/10 (14,424 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 73% (3,732 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 88% (17 reviews)</li> <li><strong>Cast:</strong> Robert Taylor, Deborah Kerr, Leo Genn</li> </ul>

5. Quo Vadis (1951)

IMDb user rating: 7.2/10 (14,424 votes)
Rotten Tomatoes audience score: 73% (3,732 votes)
Rotten Tomatoes Tomatometer score: 88% (17 reviews)
Cast: Robert Taylor, Deborah Kerr, Leo Genn

<ul> <li><strong>IMDb user rating:</strong> 7.3/10 (215,832 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 76% (388,997 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 84% (55 reviews)</li> <li><strong>Cast:</strong> Tate Donovan, Susan Egan, James Woods</li> </ul>

4. Hercules (1997)

IMDb user rating: 7.3/10 (215,832 votes)
Rotten Tomatoes audience score: 76% (388,997 votes)
Rotten Tomatoes Tomatometer score: 84% (55 reviews)
Cast: Tate Donovan, Susan Egan, James Woods

<ul> <li><strong>IMDb user rating:</strong> 7.5/10 (54,844 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 84% (35,938 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 81% (58 reviews)</li> <li><strong>Cast:</strong> Willem Dafoe, Harvey Keitel, Barbara Hershey</li> </ul>

3. The Last Temptation of Christ (1988)

IMDb user rating: 7.5/10 (54,844 votes)
Rotten Tomatoes audience score: 84% (35,938 votes)
Rotten Tomatoes Tomatometer score: 81% (58 reviews)
Cast: Willem Dafoe, Harvey Keitel, Barbara Hershey

<ul> <li><strong>IMDb user rating:</strong> 7.1/10 (124,461 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 90% (189,807 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 80% (89 reviews)</li> <li><strong>Cast:</strong> Val Kilmer, Ralph Fiennes, Michelle Pfeiffer</li> </ul>

2. The Prince of Egypt (1998)

IMDb user rating: 7.1/10 (124,461 votes)
Rotten Tomatoes audience score: 90% (189,807 votes)
Rotten Tomatoes Tomatometer score: 80% (89 reviews)
Cast: Val Kilmer, Ralph Fiennes, Michelle Pfeiffer

<ul> <li><strong>IMDb user rating:</strong> 7.9/10 (67,181 votes)</li> <li><strong>Rotten Tomatoes audience score:</strong> 87% (60,282 votes)</li> <li><strong>Rotten Tomatoes Tomatometer score:</strong> 88% (41 reviews)</li> <li><strong>Cast:</strong> Charlton Heston, Yul Brynner, Anne Baxter</li> </ul>

1. The Ten Commandments (1956)

IMDb user rating: 7.9/10 (67,181 votes)
Rotten Tomatoes audience score: 87% (60,282 votes)
Rotten Tomatoes Tomatometer score: 88% (41 reviews)
Cast: Charlton Heston, Yul Brynner, Anne Baxter

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The 14 Best Kids and Family Movies on Max This May

Films on HBO Max that are fun for the whole family!

When it comes to movies that the whole family can enjoy, there's a plethora of options both live-action and animated on HBO Max. Home to timeless favorites such as the Harry Potter series, the works of Studio Ghibli and Hayao Miyazaki , or those treasured films of your youth, Max has hours upon hours of family-friendly entertainment that’s perfect to pop in and enjoy both as an adult and as a child! Here are some of our favorite kid and family movies on HBO Max.

For more recommendations, check out our list of the best kid movies on Netflix , Hulu , and Prime Video , or browse our picks for the best movies on HBO .

‘Wonka’ (2023)

Rotten tomatoes: 82% | imdb: 7.0/10.

The third film adaptation of Roald Dahl ’s 1964 novel, Charlie and the Chocolate Factory , Wonka focuses on the early days of the quirky chocolatier. Starring Timothée Chalamet in the title role, Wonka also features an impressive supporting cast, including Olivia Colman , Keegan-Michael Key , Matt Lucas , Sally Hawkins , Rowan Atkinson , and Hugh Grant . Directed by Paul King , who co-wrote the screenplay with Simon Farnaby , Wonka is a strikingly vivid feature that allows audiences to dive deeper into the background of the famous titular character. Highlighted by stunning production design and catchy musical numbers, Wonka showcases the elite star power it gathered, resulting in a visually engaging gem.

Watch on Max

‘Inkheart’ (2009)

Rotten tomatoes: 38% | imdb: 6.1/10.

Adapted from Cornelia Funke 's German novel, Inkheart is an enchanting fantasy film geared towards audiences of all ages. Inkheart brings together Brendan Fraser , Paul Bettany , Helen Mirren , and Andy Serkis for an epic story brimming with action, magic, and family. Directed by Iain Softley , Inkheart centers on a teenage girl and her father as they find themselves on an amazing adventure where storybook characters come to life in the real world — as well as the real world becoming part of the storybook. Cheered for its whimsical core, Inkheart overlooks heavy messaging to provide an entertaining journey that will encourage viewers to seek out the books on which it was based.

‘The SpongeBob Squarepants Movie’ (2004)

Rotten tomatoes: 68% | imdb: 7.2/10, the spongebob movie.

Slather on the sunblock and dive under the sea for the full length SpongeBob Squarepants Movie from series creator Stephen Hillenburg in his hilarious feature directorial debut. In addition to the original television series voice cast, which includes Tom Kenny , Bill Fagerbakke , Clancy Brown , and Rodger Bumpass , The SpongeBob Squarepants Movie also has guest voices Alec Baldwin and Scarlett Johansson , with a live-action appearance from David Hasselhoff . Feeling like an extra special episode of the series, The SpongeBob Squarepants Movie unites all the Bikini Bottom favorites for an epic adventure filled with hijinks, shenanigans, and Krusty Krab treats.

‘Robots’ (2005)

Rotten tomatoes: 64% | imdb: 6.4/10.

Robots is a silly computer-animated film directed by Chris Wedge that explores themes of growing up and finding yourself. Robots follows Rodney Copperbottom, voiced by Ewan McGregor , an ambitious inventor leaving his home in a small town for the big city in hopes of finding his idol, Bigweld ( Mel Brooks ). Upon arrival, he meets the mischievous Fender Pinwheeler ( Robin Williams ), who assists in stopping an evil plot from the menacing and arrogant Phineas T. Ratchet ( Greg Kinnear ). Robots delightfully showcases the comedic talents of its stars with an endearing journey of self-discovery wrapped in a bundle of laughs for viewers of all ages.

'Spirited Away' (2001)

Rotten tomatoes: 96% | imdb: 8.6/10, spirited away (2001).

Without any hyperbole, Spirited Away is one of the most beautiful films ever made, and perhaps the crowning achievement of the legendary Hayao Miyazaki ’s career. The story of young Chihiro Ogino as she travels to a mystical land that her parents can’t see still continues to be a delight for viewers both old and young, and for those looking to dive in Miyazaki’s filmography for the first time, there’s no better place to start. Nothing computer-generated can top the beauty of the Studio Ghibli hand drawn animation. HBO Max thankfully has a great Studio Ghibli collection, and after watching Spirited Away , you’ll surely be hooked. — Liam Gaughan Watch on Max

'Because of Winn-Dixie' (2005)

Rotten tomatoes: 55% | imdb: 6.4/10, because of winn-dixie.

Based on the novel of the same name by Kate DiCamillo , Because of Winn-Dixie is the story of a friendship between a lonely young girl and a mischievous dog who changes her life. India Opal Buloni ( AnnaSophia Robb ) and her father ( Jeff Daniels ) move to a new town filled with unfriendly locals, and she wishes that she could find just one friend. Her wish is granted in the most unexpected way as she saves a stray dog from the pound and adopts it into her family — much to her father’s chagrin. This southern small-town tale is a pleasant stroll through the ways that connection and compassion can soften those around us. Watch on Max

'Tooth Fairy' (2010)

Rotten tomatoes: 17% | imdb: 5.0/10, tooth fairy.

Tooth Fairy is an early installment in the acting career of Dwayne Johnson ( The Game Plan ) and lives in a uniquely late-90s-to-early-2000s space that occupies two separate tropes: a mean and skeptical man reluctantly becomes a mythical figure and learns a lesson like in The Santa Clause and big tough guy learns to empathize with children like in The Pacifier . The story follows Johnson as a hot-shot hockey player that’s forced to become a tooth fairy in order to rid him of his curmudgeonly dream-crushing ways and show him the importance of wonder. It’s a pretty whimsical affair that’s fun for kids of all ages. – Tauri Miller Watch on Max

'Daddy Day Care' (2003)

Rotten tomatoes: 27% | imdb: 5.6/10, daddy day care.

Eddie Murphy ( Shrek ) and Jeff Garlin ( WALL·E ) star in this wild and wacky family comedy about two dads who start a makeshift daycare after losing their jobs. Daddy Day Care is a cute film that, although it plays into the trope idea of men being incompetent caregivers, is a wonderful journey for the two main characters as they find comfort with being the homemakers and child care providers instead of the breadwinners — a message that is rarely seen in modern media. Plus, Murphy delivers a charming performance as always, making the film a must-see for any fans of his work in the family-friendly space. – Tauri Miller Watch on Max

'The Wizard of Oz' (1939)

Rotten tomatoes: 98% | imdb: 8.1/10, the wizard of oz.

One of the most iconic and inventive films of all time, The Wizard of Oz is more than just a work that holds up all these decades later as it continues to be just as glorious as it was when it first came out. It centers on young Dorothy ( Judy Garland ) who is swept away to the magical world of Oz after a tornado descends on her home in Kansas. Seeking to return home, she will have to undertake a journey where she will meet a whole host of friends while trying to avoid the clutches of a terrifying witch. Full of vibrant colors and wondrous songs, it is a classic for a reason, as it managed to push the medium of cinema forward even with its notoriously troubled production. There is nothing quite like it, making it always worth going over the rainbow to see it once more. - Chase Hutchinson Watch on Max

'Kiki’s Delivery Service' (1989)

Rotten tomatoes: 98% | imdb: 7.8/10, kiki's delivery service (1989).

Compared to some of the more emotionally grueling films in the Studio Ghibli filmography, Kiki’s Delivery Service is a heartwarming love story of magical outsiders. Hayao Miyazaki drew inspiration from the classic children’s story of the same name by author Eiko Kadono . The titular protagonist is a young witch who uses her newfound mystical abilities to land a job delivering toys, and as always Miyazaki subtly incorporates a meta-commentary about the state of capitalism. The natural beauty of the Japanese landscapes come to life in vivid detail during the flying sequences, which are among the most beautiful hand drawn visuals of the entire Studio Ghibli outlet. — Liam Gaughan Watch on Max

'Ponyo' (2008)

Rotten tomatoes: 91% | imdb: 7.6/10.

If you’ve never seen a Hayao Miyazaki movie, Ponyo is the perfect starter – it features all of the legendary animator’s hallmarks (magical realism, environmental themes, a strong female hero, luscious animation) while also being more palpable and easily digestible as some of his other, knottier work. Essentially his incredibly weird version of The Little Mermaid , Ponyo is a kind of mermaid-esque sea creature who loves ham and dreams of living as a human on the surface world. She befriends a young boy on land and helps a small coastal village after a tsunami (see! Environmentalism!) One of the master filmmaker’s most underrated fantasies, Ponyo is deeply felt and effervescently told – the kind of movie that is too strange and dangerous to be produced by Disney, but feels like one of their animated classics just the same. – Drew Taylor Watch on Max

'Harry Potter Series' (2001-2011)

Rotten tomatoes: 81% | imdb: 7.6/10, harry potter and the sorcerer's stone.

Based on the highly successful book series, the Harry Potter series of films is one of the most successful franchises to ever grace the screen and for good reason: these stories are highly original and have some of the strongest world-building of any franchise. The film follows orphan Harry Potter ( Daniel Radcliffe ) who is whisked away from his cruel relatives to learn how to become a wizard at Hogwarts School of Witchcraft and Wizardry. There he meets new friends such as Ron and Hermione ( Rupert Grint , Emma Watson ) and learns his connection to the evilest wizard of them all: Lord Voldemort ( Ralph Fiennes ). Some films in the franchise are better than others and the prequel series, Fantastic Beasts (which are currently unavailable on HBO Max) leave a lot to be desired, but the original eight films are go-to family entertainment, especially at the end of the year. Watch on Max

'The Lego Batman Movie' (2017)

Rotten tomatoes: 90% | imdb: 7.3/10, the lego batman movie.

Nobody expected The Lego Movie to be any good when it was first announced but when it finally hit theaters in 2014, audiences everywhere were gobsmacked by the film’s brilliance and snarky sense of humor. So much so that the film was a huge box office and critical success. Warner Bros quickly put a sequel and several spin-offs in the development, and while The Lego Movie 2: The Second Part and The Lego Ninjago Movie may not have lived up to the high standards of the first film, The Lego Batman Movie is an absolute riot.

Set in a completely Legofied version of Gotham City the film follows Batman ( Will Arnett ) as he is forced to suddenly take responsibility for himself and learn to work with others after he accidentally adopted Robin ( Michael Cera ), all while the Joker ( Zach Galifianakis ) stages a threatening villain uprising. The Lego Batman Movie will absolutely delight Batman fans of all ages, from its countless in-jokes and snark, to its beating heart. It is also most certainly a romantic comedy between Batman and the Joker. Watch on Max

'My Neighbor Totoro' (1988)

Rotten tomatoes: 93% | imdb: 8.1/10, my neighbor totoro.

Hayao Miyazaki is not only one of the most legendary and revered filmmakers in the world of animation, he’s one of the most gifted cinematic storytellers ever. HBO Max offers every single Studio Ghibli film, but the perfect starting point for any young viewer is My Neighbor Totoro . The film follows two sisters who move to the countryside to be with their ill mother and soon have adventures with various cutesy forest spirits including the adorable Totoro. The film gives young audiences a sense of the creative mind of Miyazaki and his wonderful imagination, but it’ll also win over the hearts of older viewers as well. Watch on Max

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Universal dates steven spielberg event movie for summer 2026.

‘Furiosa’ Sees $3.5M, ‘Garfield The Movie’ $1.9M In Previews As Memorial Day Weekend Box Office Begins

By Anthony D'Alessandro

Anthony D'Alessandro

Editorial Director/Box Office Editor

Cannes Film Festival 2024: All Of Deadline's Movie Reviews

Anya Taylor-Joy in 'Furiosa: A Mad Max Saga'

Anya Taylor-Joy Says Channeling "Female Rage" in 'Furiosa' Led To Her Creating A Gory Scene That Was Cut By George Miller

2015’s Max Max Fury Road posted previews of $3.7M back in May 2015 off showtimes that began at 7PM and went on to open to $45.4M, No. 2 that weekend. The movie legged out to a 3.3x multiple. That’s the hope here for this movie that has Queen’s Gambit star Anya Taylor-Joy stepping in for Charlize Theron in this desert dystopian epic about Mad Max’s sidekick (depending on who you ask — Furiosa is arguably The Boss of the last film). Furiosa is expected to post $40M in its four day.

Unlike Indiana Jones and the Dial of Destiny, last year’s big Hollywood premiere at Cannes which was knifed by critics, Furiosa won many over with 89% certified fresh on RT. Knock on wood, Furiosa on the Rotten Tomatoes audience meter is 96%. Screen Engine/Comscore PostTrak exits on the Taylor-Joy and Chris Hemsworth movie is also very strong at 4 1/2 stars and a 70% recommend. Men at 68% gave the pic an 87% score while women at 32% gave it 81%. Hopefully all good word of mouth pays off during the Friday through Sunday span.

Meanwhile Alcon/Sony’s The Garfield Movie posted $1.9M in shows that started at 2PM yesterday at 3,243 locations. That’s a tad higher than IF’s previews last Thursday of $1.75M. Garfield is expected to do $30M+ over four days. Garfield is 37% Rotten with RT critics. General audiences numbered 58%, parents 19% and kids under 12 were 23%. General audience gave the animated pic 3 1/2 stars while parents and kids awarded it 4 1/2 stars. Overall, women outnumber men for Garfield at 55% to 45%.

Elsewhere, Paramount’s IF ends week one with $42.5M, which is 8% behind the last PG live-action title, Hop, which posted a first week’s take of $46.4M. That Universal movie which was also had CGI animation mixed in, ended its U.S./Canada at $108M. No sequel was greenlit for the big screen. IF is hoping to ease -50% off its $33.7M opening. Hop was down -43%. Keep in mind Hop was an Easter title that played three weeks into the Holy weekend.

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Screen Rant

Furiosa rotten tomatoes score debuts with mad max franchise's second-lowest (but it's still fresh).

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Furiosa: A Mad Max Saga Review - Action Prequel Is A Visual Feast That Adds Exciting Depth To Franchise

Who is dementus chris hemsworth's furiosa villain & mad max history explained, why charlize theron isn't in furiosa.

Furiosa 's Tomatometer rating of 87% is the second-lowest in the Mad Max franchise, but still receives praise for visuals and action.
The Mad Max franchise has a history of high Rotten Tomatoes scores, so even being the second-lowest is a notable achievement for Furiosa.
With only 31 reviews so far, the Tomatometer score for Furiosa may fluctuate, potentially even reaching the low-nineties.

The Tomatometer for Furiosa: A Mad Max Saga has debuted, and it’s the franchise’s second-lowest. Furiosa comes out on May 24 and will center around the titular character (played by Anya Taylor-Joy), who’s been snatched from her home of the Green Place of Many Mothers. On top of its first wave of reviews, the movie has garnered buzz from certain creatives, including video game designer Hideo Kojima, who said the film is even better than 2015’s Mad Max: Fury Road. Early reactions praised the film as a revenge epic with stunning visuals and visceral action sequences.

As the review embargo lifts, Rotten Tomatoes reveals Furiosa ’s aggregate critics score, and, at the time of this writing, the movie has debuted with a Tomatometer of 87% , the second-lowest of the Mad Max franchise. While there’s no official consensus yet, the film is praised for its eye-popping visuals, lengthy action sequences, and colorful cast of characters. When compared to Mad Max: Fury Road, however, the movie falls short, but it seems to be a solid installment in the franchise.

Anya Taylor-Joy and Alyla Browne fully embody Furiosa at different stages in the engrossing Mad Max prequel, which fleshes out The Wasteland more.

Breaking Down What Furiosa’s Rotten Tomatoes Score Means

Furiosa might be low for the franchise, but it's still really good.

Whether or not the film’s Tomatometer changes significantly, Furiosa is still on track to perform well in theaters.

While it’s true that Furiosa ’s Rotten Tomatoes score is the second lowest of the franchise, one should know that the Mad Max movies have a record of high Tomatometers , with the highest being Mad Max: Fury Road at 97%, and the lowest being Mad Max Beyond Thunderdome at 81%. Therefore, even as the second-lowest rated film of the whole franchise, by no means is Furiosa received as a bad movie. Check out the table below for a review of the franchise’s Rotten Tomatoes scores:

It should also be noted that these are only the first wave of reviews following the movie's world premiere at the Cannes Film Festival. As reviews add up, the Tomatometer of Furiosa will fluctuate . Currently, it only has 31 reviews. That’s considerably low, so expect the score to fluctuate a few percentages lower or higher. While it’s unlikely, it is possible to even see Furiosa hit the low-nineties, which would put it above the original movie.

Whether or not the film’s Tomatometer changes significantly, Furiosa is still on track to perform well in theaters. In terms of box office numbers, the movie’s real competitor will be Kingdom of the Planet of the Apes , which already has a lower Tomatometer (81%). The Mad Max prequel’s current Rotten Tomatoes score is a great position to be in , and early word hints that Furiosa is a great achievement in filmmaking, promising a cinematic experience with all the high-octane bells and whistles already associated with the franchise.

Source: Rotten Tomatoes

Furiosa: A Mad Max Saga

A prequel to Mad Max: Fury Road, Furiosa is an action-adventure film that tells the origin story of the headstrong and fearless Furiosa. Set shortly after the beginning of the "end of the world," Furiosa is kidnapped and brought before a powerful warlord, now forced to work for him. To find her way back home, Furiosa will adapt to the new harsh and arid world as she grows into the Furiosa she becomes known to be.

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