NOBODY 2. A Carousel of Violence [REVIEW]

What a great cinematic summer this is! Nobody 2 proves that “bigger” and “louder” don’t have to mean “worse.” What we get is a distilled shot of pure action cinema—narratively not flawless, but well-balanced between brutality and humor, delivering some of the best fight scenes and choreography of recent years.

The first Nobody hit like an unexpected roundhouse punch—a seemingly ordinary middle-aged suburban loser suddenly turning into a killing machine, and viewers (myself included) couldn’t look away. The film’s biggest strength was its element of surprise—the bus scene with Bob Odenkirk instantly became cult and is still considered one of the greatest action moments of the past decade.

That movie thrived on contrasts: the ordinary versus the extraordinary, suburban grayness and depression versus explosions of violence, all tied together with cheeky self-awareness. The finale may have been a bit over the top, but overall it was a huge surprise. That’s why my expectations for the sequel were high.

The second part inevitably faces a challenge—the surprise effect of the first one simply can’t be recreated. The audience already knows Hutch Mansell isn’t just an average suburban dad, but a man with a dark past, a rather murderous profession, and astonishing skills. In this respect, Nobody 2 loses something—but it makes up for it in another way. Instead of going for “wow, I didn’t see that coming!”, it gives us “wow, that was even bigger and more inventive!” It adds a hefty dose of surprising humor, wonderfully over-the-top characters (Sharon Stone as the villainess!), and it really works.

The sequel’s biggest triumph is the action. The fight scenes are directed with incredible sense of rhythm and space, full of clever ideas and unexpected twists. The climax takes place in an old-style amusement park—a setting that itself becomes a character in the film. The movie makes fantastic use of its sets—retro arcade machines, hall-of-mirrors, Ferris wheels, water slides, and carousels all turn into natural weapons of destruction. Every prop is used—joysticks, plastic light guns, whack-a-mole hammers, coin capsules, even vending machines and shooting galleries. It’s not just an impressive battleground but also a visual gag, giving the film a unique atmosphere.

The camera follows the characters’ movements as if it were part of the ride, while the choreography resembles a brutal, spectacular dance against neon-lit backdrops. The final sequence is both breathtaking and funny.

Simple as can be—Hutch once again gets into trouble that escalates into a full-blown massacre. And that’s exactly how it should be. You don’t watch this for intricate plots or psychological depth—you watch it for pure, flawlessly executed mayhem. The film never pretends to be something it isn’t—and that honesty makes it work even better.

Bob Odenkirk once again shines as Hutch. It’s amazing how an actor best known for dramatic roles (Better Call Saul) fits so naturally into classic action cinema. His fights don’t feel superheroic—you feel the weight of every punch, every fall, every ache. Both his enemies and he himself take real damage—bruises stay, and sometimes he literally has to drag himself off the floor to keep going.

That makes the whole thing surprisingly realistic despite the absurd levels of violence. On top of that, Odenkirk balances seriousness and irony beautifully—he can throw a look, a sigh, or a one-liner in the middle of a bloodbath and make the audience burst into laughter.

Christopher Lloyd also returns, once again stealing scenes as Hutch’s father. His presence adds both humor and a nostalgic flavor, and he clearly delights in playing an old man with a shotgun. This time Hutch’s family plays a larger role—not always developed perfectly, but enough to give the hero more human dimension. They’re no longer just background or an excuse for exposition—they have real weight. Fully utilized? Not entirely. But then again, the main goal here isn’t depth of story but the spectacle of action. And there’s plenty of that.

True, the element of surprise is gone. But Nobody 2 makes up for it with choreography, pace, and humor. It’s a movie that knows exactly what it wants to be, and delivers precisely what the audience came for—a bloody, spectacular rollercoaster with plenty of laughs. Genre cinema at its finest.