This article contains spoilers For "Nobody 2."

After "Johnon Wick" blown the doors what the contemporary action movie might look like, a clone wave arrived in the wake of different success. Among the one -offs as a "bullet train" and "autumn man" lies The Christmas smell of "violent night", with David Harbor, tried to deliver a few more season -long beatings next December. In the regime of Thousand Naisuler "no one" showed the most promise, as the Starval "Better Call Saul" Bob Odenkirk appeared in his first major role as the shareholder. The latest entry in Dad's revenge subgenre, began with Take, was a modest success as it collected positive critical reception and enough money in box office to guarantee a sequel.

Four years later, Odenkirk's Hach, Mansell returned to the cinemas with "no one", watching the summer that sees our main stroke on the butt, trying to spend time with his family on vacation, just to find himself in more trouble than he would like. It is a very sunny film, as the film takes place in Huch Water Park used in childhood. With Timo Tiano taking duties, Sharon Stone as a villain and a gracious 89-minute duration, all signs pointed to "no one" likely to be an improvement in the first film. While /Movie Whitney Seibard gave this sequel a mostly positive reviewI have a little less eccycle to it.

"No one" wants to be a cousin dipped in blood on the "national holiday of lamps", as they both have a psychotic father with violent tendencies trying to spend time with his wife and children, but still cannot avoid his worst impulses. The difference between the two is that Clark Griswald's Chevy Chase is a much more omitted character who really feels dangerous to be around, and is not an action movie. The films "Nobody" are so weird signed ASTSWERS that have a bunch of cool ideas, not many of the following, with Odenkirk making with a thin script.

Sharon Stone, Schying-Guarding Linanda, hardly has nothing to doWhile Connie Nielsen's background is felt as if she was unusually omitted from the film. One of the more interesting threads in "none 2" is this confrontation of hereditary violence from fathers' sins, just to miss almost as quickly as it is introduced. For ordinary film films, this kind of things will not be important because they are there to deal with a stupid marinade from the starvet of the Starvala on one of the 21st century most famous shows and I can't blame them. Unfortunately, there is no action sequence in "No one" that corresponds to intense excitement and laughter on the first film's bus brawl.

The brightest question with "no one" in 2021 is that it flirts by being a dark satire for a suburban father reaching his penetration point, but never commits to the concept. At the very least, Odenkirk proves how hard he worked to train for his role in some pretty fun action sequences that are unmistakable ode to Johnon Vick. It should not surprise that the best used this dichotomy with Busbound Beatdown on Hatch.

Before boarding the bus, Hach's investigation into the breakthrough at Mansell's residence comes into unsatisfactory deadlock. The former government killer realizes that the robbers who got the fall of him are nothing more than an ordinary couple just trying to get extra money to pay for their baby's medical treatments. Hatch's paternal instincts are essentially blue balls with rhythm, but the film gave this character his bloodthirsty catharsis on a silver plate by arriving five drunken problems with the problems climbing on the bus. "Please, God. Open that door," Hatch begs in his inner monologue. A painful little smile connects to Hatch's face when they start harassing people on the bus, leading him to go by, politely pull out the bus driver, empty the pistol chamber, and list his day of judgment on them.

Part of what makes the first part of this sequence so big is that Odenkirk is teaching his ass. We know something is a bubble beneath the surface just waiting for it, but it has been some time since he used his out -of -court beatings. Everything looks and sounds like it really hurts at both ends, which is only worse by some great sound design. The strokes, kicks and stings reflect against silence. We are slowly starting to see Hach restores his strength, just to break down. Here is the best demonstrated rigorous Odenkirk trainingThey go so far as to play great moments of physical comedy. These are the small details, as the hatch lies through the bus seat just to fall under its weight, which go a long way.

It should end naturally when Hatch is dropped calmly out of the bus window, but he goes back and returns to deliver second help. Meanwhile, all the pigeons barely stand up and look pretty annoyed that this was not the end of it. The cherry at the top is a dark funny note of Hach quietly performs a homemade tracheostomy with straw. After all that setting, the payment is very rewarded. He puts Hach on his way to regain his violent past, as well as to catalyze the goal he puts on Julian's head to Alexei Serebrijakov. It is by no means one of the biggest action sequences, but it is more consistent than how the violence is played in "Nobody 2."

You would think that the director's security behind such hits as "the night comes for us" and the "stray shadows" will only take the franchise "no one" at even higher heightsBut "nobody 2" meets as a studio whistle that inhibits his trademarks for signatures. It is strange because, at the very least, we are all here for Odenkirk to hit a serious butt, and yet this is found as incredibly neutralized. You can almost see "nobody 2" arguing with painful joy when Hutch and one of Colin Hank's men fight near an operating table, just waiting for someone's head to turn into a watermelon. The summer red shirt goes on the head, but the film moves away from the full impact, only shows the smell of a blood sprayer that lands on the face of the hatch. Most of the "nobody 2" is like this, whether it is a fight with lifts, arcade rhythm or casino slaughter at Landina's off -screen.

There is a little in the mirror hall that Hach intends to blow up, and all we really get is an external explosion with Landanda's tactical team, just run out of it. The same can be said for another "home" trap in the finals with a striking mini inside the ball, in which you can barely see what happens after leaving. Its most fatal moment must be a water slide that has been restored with a bunch of shovels for one of Hach's opponents to throw it into the 2020 Aquaslas vein. They are similar in that both films promise bloodshed in a water park, just to have a moment of slide water violence, to do any kind of representation in relation to the people. The confrontation of the Duck Ship is probably the nearest "no one" comes to reflect the close fight in the fight against the bus struggle, but is nowhere near so unforgettable or nasty, even though a man got an anchor in his neck and threw himself into the water.

Laying the earth's wonders of bloodshed in a water park, just to be ashamed and cake most of it in bad composing CG, becomes at the heart of why this franchise already feels like it is out of gasoline. "No one" is a Rating film, which plays as if it were recorded in the editing bay in order to ensure the PG-13 rating, which already occupies the line of what is acceptable to the level of screen violence.

"No one" now plays in cinemas all over the country.