In Timo Tyahanto's "No one", Bob Odenkirk returns as a hatch, an attractive husband and father trying - with little success - to balance his boring suburban domestic existence with his daily work as a deadly, highly trained killer. He swears his wife Beka (Nielsen) that he would be at home for dinner, but he usually delayed how he choked butter in the throat of wealthy drug runners. Both Hatch and Baka are a little afraid of the violence that is capable. He clearly has a great internal anger, and Hatch is afraid that his murderous impulses can be activated unexpectedly.

The plot of this sequel involves Hach trying to take his family on vacation in a fall in an amusement park (the one who worshiped as a child), just to discover that the park was beaten by Super Criminal Mind (Sharon Stone). Hatch's first look at the darkness of the city comes when his children (Gage Munro, Paisley Kadorat) play a local video arcade and run after some thugs. There is a short brawl, which led the whole family to be kicked out of the arcade. While they apply, one of the arcade managers, as part of an unchanged abuse, smeared the young daughter of Hach at the back of the head. Hatch is picturesque, and the audience can see his blood that begins to boil. Outside on the sidewalk, Hach announces that he should briefly enter the arcade to regain his wallet. However, we know that he is again entering the arcade to bring violent acts of bloody revenge.

Hatch will spend most of the trim 89-minute time of the movie 89-minute crippling time and will kill. It's a small movie but it's pretty fun.

Odenkirk spoke about that moment In a recent interview with ColiderAnd he remembers that he wanted the arcade scene - specifically when Hatch sees his daughter smeared - to be as much as possible. It should have been incidental. Hence, when Hatch "breaks", it seems more and more dramatic.

There was a way to record and edit the moment of the head smell for a maximum dramatic effect, of course. Filmmakers could include circles on Hatch's angry eyes, or a slow -moving shot of an arcade worker that attracts the young girl. However, Odenkirk knew that the scene would play better if the moment was natural and did not settle in the center of the frame. If the moment had to activate Hatch's violent anger, then it would have been more shocking and brought more weight if it came from a short, almost illegal moment. Even Hach should be surprised when a short, little act of violence against his family forced him to become an eye machine. In Odenkirk's words:

"It's almost like the boy doesn't think either. And, it's small enough that no one thinks it's at all. It must be so small that you can't justify anything out of, "hey, doesn't do it." But of course that is Big. That is Huge. It's a huge move of a ** hole, and it's kind of something that can happen to you in the world ... You have to eat it. But in a movie, it doesn't have to be. "

Indeed, the moment is a fantasy of cadar violence for anyone in the audience who is easily blot, or who has witnessed when a member of their family is easily blot. We may get angry at such moments, but we have no anger - or where it is - to savage the perpetrator. "No one" allowed Hatch to take a symbolic, Chinese revenge against thugs in the world.

And Odenkirk is right. A small, seemingly incidental moment of insult will really become huge when you interfere against the reaction of Hatch to it. It makes "no 2" hair more dramatic.