Nobody 2 Is the Ultimate Over-the-Top Bullet Parade You Didn’t Ask For

Hello everyone. Let’s talk about Nobody 2 – the sequel that apparently decided the only thing wrong with the first film was that it wasn’t loud, goofy, or overstuffed enough. Forget crafting an intricate action-thriller; this is pure candy-floss cinema, minus any pretense of nutrition. The makers clearly gathered in a room, looked at the original and said: “So, we just add more muscles, more bullets, more blood, and call it a day?” Yes, yes they did.

John Wick’s Cousin Who Never Left the Basement

Once again, comparisons to John Wick are unavoidable. We’ve got the same blueprint: a normal-looking bloke with a hyper-violent past, Russian mobsters poking a hornet’s nest, whispered terror at the mere mention of his name, mysterious safe havens for contract killers, and even a rescued animal in the mix. The only notable difference? Nobody originally leaned into family dynamics and a cheeky sense of humor. So, imagine John Wick on a sugar high after chugging three energy drinks and discovering slapstick.

The original scraped $57 million worldwide. Respectable compared to its $16 million budget, but far from tentpole territory. And yet, here we are, lumbered with a sequel – thanks to strong audience scores and the sheer joy of seeing Bob Odenkirk play a role where his “dad next door” exterior conceals an inner war machine. Which, to be fair, is still the best reason this franchise exists.

Hutch Goes on Holiday – and Predictably, the Holiday Dies

Four years post-rampage, Hutch is still moonlighting as a trigger-happy financial auditor for the Russian mob – except his “audits” usually involve reducing payroll via high-velocity lead poisoning. Yearning to reconnect with his family, he drags them, plus his father, to Plummerville – the childhood holiday spot he remembers fondly. Shockingly, the postcard town has gone full “meth lab chic,” and a run-in with a corrupt sheriff snowballs into the kind of mess only an action sequel can deliver.

Villains queue up like raid bosses in an MMO, each more flamboyant than the last. A local thug, a big bad crime matriarch, and assorted henchfolk practically announce themselves with neon signs. The main quest: keep the family alive, stack bodies like it’s Tetris, and pretend this is all somehow cathartic bonding time.

The Same – Just with the Volume Knob Snapped Off

The sequel operates on one guiding principle: escalate until the audience loses track of whether it’s parody or not. Gone is any need for character introduction; Hutch is already the guy, so we start with him trashing baddies before the intro credits are done. Wake up, take out the trash, alienate your family, and leave a trail of fresh corpses – the daily grind, action-hero edition.

Bob Odenkirk leans hard into the ‘tired hitman’ archetype – making the violence seem routine for him, if not always for us. Christopher Lloyd, running on pure “I’m old but dangerous” energy, might be having more fun than anyone here. RZA gets a scene so weird it feels imported from another dimension, and Sharon Stone overacts like she’s being paid per eyebrow raise. Connie Nielsen finally gets something to do, stepping up into a more active role and frankly stealing some of the spotlight.

What’s the trade-off? A script that’s about as deep as a puddle in a drought. Logical consistency is thrown out faster than the bodies, but the film banks on you being too entertained to care – kind of like a badly balanced but still fun arcade shooter. And honestly? It almost works, because if you’re laughing while a guy is being whacked with a novelty mallet, maybe narrative cohesion isn’t your top concern.

Timo Tjahjanto at the Helm

This is where it gets interesting. The biggest upgrade is in the director’s chair. Timo Tjahjanto – yes, the man who gave us The Night Comes for Us – knows how to choreograph bone-crunching chaos. His action scenes are more spatially coherent, with fewer cuts, and each location has its own personality, turning environments into weapons. The man turns a funfair into a literal murder playground and reimagines Whac-A-Mole with human skulls. It’s absurd, but in a way that has you grinning despite yourself.

The frustration? The violence still feels shackled, like someone at the studio had a panic attack over the ratings board. There’s a definite sense that Timo wanted a full hard-R gorefest, but had to smuggle his most outrageous flourishes into the margins. You can practically feel him itching to show more.

Fun, Forgettable, and Fine With That

Nobody 2 is better than the original in the same way a faster rollercoaster is technically an upgrade: it’s more thrilling, sure, but don’t expect it to suddenly acquire plot depth or thematic gravitas. It knows its lane – breezy, blood-sprinkled fun – and that self-awareness might be its saving grace.

But here’s the diagnosis from Dr. Movie Critic MD: this patient has acute sequelitis. Prognosis? Mild enjoyment followed by instant memory loss. The film is a timed-release sugar rush – perfect for a brain-off summer evening, but it evaporates from your system faster than cheap vodka.

Verdict

• Better action choreography and location use.
• Cast having visible fun, especially Nielsen and Lloyd.
• Violence feels reined in when it could have gone full spectacle.
• Paper-thin story and logic-free plotting.

Final call: it’s a decent time, a competent thrill ride, but it’s coasting on charm and chaos rather than innovation. Watch it, enjoy it, and then promptly forget it exists – which might be exactly the outcome everyone involved was aiming for.

And that, ladies and gentlemen, is entirely my opinion.

Critique Nobody 2 : plus c’est c.. plus c’est bon ?, https://www.journaldugeek.com/critique/critique-nobody-2-plus-cest-c-plus-cest-bon/