SYNOPSIS: In “Nobody 2,” the sequel to the 2021 action hit, sees Bob Odenkirk as assassin and family man Hutch Mansell in need of a break from the mayhem of his day job. On vacation with wife Becca (Connie Nielsen), daughter Sammy (Paisley Cadorath), son Brady (Gage Munroe) and grandpa (Christopher Lloyd) at Wild Bill’s Majestic Midway amusement park, he stumbles into viper’s nest of illegality overseen by a corrupt theme-park operator (John Ortiz), a shifty sheriff (Colin Hanks), and a bloodthirsty crime boss (Sharon Stone). “I just want a break,” says Hutch.
CAST: Bob Odenkirk, Connie Nielsen, RZA, Michael Ironside, Colin Salmon, Billy MacLellan, Gage Munroe, Paisley Cadorath, Christopher Lloyd, Colin Hanks, John Ortiz, Mckenna Grace and Sharon Stone. Directed by Timo Tjahjanto.
REVIEW: The trouble with “Nobody 2” is that the titular character, the nobody known as Hutch Mansell, is now a somebody. Fans of the first film know the character, know his backstory and know what to expect. It’s a sequel, so the fights are a bit longer, the explosions a bit louder, but even though it’s a lively time waster, it doesn’t deliver anything new.
Once again, Odenkirk is a charismatic everyman, a relatable guy who also happens to be a one-man army. Part of his appeal lies in his approachability. When he’s not swinging fists, he’s the guy you see on the subway, or at the dog park or at the coffee shop. He’s an Average Joe with a bad temper and a way with a line and Odenkirk finds the tricky balance between the hostility and the humor.
He punctuates violent scenes with an exasperated, “I just wanted a break,” and, after his son picks a fight in defense of his sister at the amusement park, Hutch says, “I understand protecting your sister. It’s instinctual but there are other ways.” It’s funny because Hutch’s method of dealing with issues usually leaves people in the hospital or worse, and the switch to giving fatherly advice is not only disingenuous, but in context, hilarious.
“Nobody 2” is a showcase for Odenkirk, and he remains a lot of fun in the role, so it’s too bad the movie isn’t as fun as he is.
It’s hard to remember now, but there was a time when we were not tethered to our smart phones. A new film, “BlackBerry,” starring Jay Baruchel and Matt Johnson, and now playing in theatres, vividly recreates the scrappy story of friendship, betrayal and hubris that began our obsession with our phones.
Baruchel and Johnson play Mike Lazaridis and Doug Fregin, founders of small tech company Research in Motion. When we first meet them it’s 1996 and they are about to pitch a new kind of pager to hotheaded executive Jim Balsillie (Glenn Howerton). He’s the kind of Art of War-style boss who snaps at an assistant who reaches for a bottle of water. “Thirst is a display of weakness.”
Too busy trying to backstab his way to the top of the corporate ladder to give the tech nerds his attention, he dismisses the awkward pitch before they even get to the end. But when his latest grab at a promotion gets him fired from his cushy corporate job, he reaches out to RIM with an offer.
Under his aggressive leadership, coupled with Lazaridis’s uncompromising search for perfection and Fregin’s clever engineering and heart, the Waterloo, Ontario storefront start-up soon debuts “the world’s largest pager.” Or is it “the world’s smallest email terminal?” Either way, it is a handheld game changer that combines a phone with the capabilities of a computer.
The odd little phone, with a QWERTY keyboard, encrypted messaging and low data cost, becomes a status symbol, used by some of the world’ most powerful people. In the hands of everyone from President Barack Obama and Justin Timberlake to Katy Perry and Vogue Editor-in-Chief Anna Wintour, the phones helped the world communicate in a whole new way.
The halcyon days of BlackBerry lasted a few years until shady business dealings, ambition and lack of vision relegated RIM’s products to the scrap heap; the “phone people had before they bought an iPhone.”
“BlackBerry” isn’t just a business story or the story of innovation. Instead, it is an underdog tale that emphasizes the human foibles that led to RIM’s downfall, not just the financial ones.
Baruchel and Howerton, as the characters who provide the story’s yin and yang, hand in strong performances.
Baruchel, topped with a shock of white hair, goes deep to play Lazaridis as a socially awkward man with a rich inner life, a perfectionist who can’t help himself from fixing a buzz on the office intercom in Balsillie’s office on the day of their big pitch.
As Balsillie, Howerton is all bluster, a thin-skinned man who covers his weaknesses with a thick veneer of bellicosity. From attempting to buy a hockey team after a rival slights the game to his wanton manipulation of RIM to suit his own ambitions, he is simultaneously the best and worst thing that ever happened to Lazaridis and Fregin.
As director and writer (as well as co-star), Johnson concentrates on the human side of the story, amping up the anxiety with a terrific sense of pacing and claustrophobic close-ups of his cast as their lives and business unwind.
“BlackBerry” is an interesting slice of recent history, made all the more interesting by the study of hubris that makes this tech story so human.
Lean and mean, the easiest way to describe “Knuckleball,” a new film starring genre legend Michael Ironside, is as a nastier “Home Alone.”
Headed to a funeral, Mary and Paul (Kathleen Munroe and Chenier Hundal) leave their young son Henry (Luca Villacis) in the hands of his grandfather Jacob (Ironside). Deposited on the rural farm Henry is without the essentials of his millennial life, videogames and a working cell phone. Put to work outside, Henry begrudgingly does his chores, shows an ability with a baseball and meets oddball neighbour Dixon (Munro Chambers). Grandpa says he’s “almost like family” but there is something strained between the two men. Henry’s uneasy rural retreat turns to terror when he looks to Dixon for help after he is left alone in Jacob’s house, miles from anywhere with a storm—literally and metaphorically—brewing.
“Knuckleball” is a story of survival pared down to the essentials. The remote setting, the icy atmosphere and Ironside’s menacing presence create a sense of dread that blossom throughout. The cat and mouse story has gaps and some unnecessary twists but the undercurrent of fear, driven by a strong performance from Villacis that is both vulnerable and resourceful, prevails. It’s a story of secrets and cruelty carefully crafted to accentuate the thrills and not the plot holes.
