Reseñas de la crítica

It’s an incredibly skillfully made film. Naishuller excels at delivering action setpieces, and at giving his actors room to react non-verbally, with only time and their darting eyes and body language telling us what they’re feeling, or whether they’re trying to escape or getting ready to act. It’s also probably one of the most morally repugnant films I’ve ever seen.

Graham, like “Nobody,” imagines a scary batch of outlaws, an “othered” group, against whom private citizens must defend themselves... What “Nobody” does, with a sentimental story of family re-bonding and personal self-rediscovery, is to render delusional hate-based violence heartwarming, restorative, and sexy.

"Nobody" does not shy away from showing pain, and viewers will wince and laugh at the same time at the film's gleeful, comic-bookish violence... [but] "Nobody" risks viewers becoming either buzzy or bored as it lunges from one action sequence to the next. The film's final, epic, fire-powered showdown is either satisfying or stultifying.

After two years of training with fight coordinator/stuntperson/actor Daniel Bernhardt, who worked on all the John Wick films (and appears in this film as one of the bus goons), Ondenkirk’s preparation pays off with a role nobody will forget.

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.

The sheer unexpectedness of how fluidly Odenkirk takes to the genre, a surprise even more pleasant than Liam Neeson or Keanu Reeves’ late-act action turns... He is the center of gravity here, the calm in the middle of the car-flipping, bone-snapping, gun fu storm. He is the main reason to see it. Or, more accurately, the only reason to see it.

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.

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.

The film is a winning reminder of the pleasures of the midrange movie, one stylish enough to feel distinct but not too caught up in an effort to sell some startling, singular vision. It’s proudly genre and fills its allotted space with humor and detail.

Prestige drama “Nobody” ain’t. But it does elevate this R-rated comic-book of a movie — part “Equalizer,” part “Revenge of the Nerds” — into a kind of lumpy art form.

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.

A clever John Wick riff that places a seemingly wimpy everyman in the Keanu Reeves role, Nobody delivers ultra-violence and B-movie attitude while trying to avoid overextending its thin premise... This stylish, superficial lark is perhaps too pleased with its central conceit, but director Ilya Naishuller keeps the mayhem and dark laughs rolling at a steady clip.