August 25, 2025 • 36 mins
Brandon Vick reviews The Naked Gun, Weapons, and Nobody 2 on this month’s episode of The Cinema Chronicles!
The Naked Gun - 5:42
Weapons - 16:57
Nobody 2 - 30:07
The Naked Gun - 5:42
Weapons - 16:57
Nobody 2 - 30:07
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:19):
Hey ya, Halidy High. Another volume of these cinema chronicles
right here on Nashville Movie Dispatch is here and ready
to go. This is a fine sunny Sunday morning here.
I just got back from vacation and went to the beach,
(00:41):
went down to Florida, got to tour Alligator Alcatraz right
there on the beach. It's really nice. And we were
actually set up right in between Pensacola and Orange Beach,
and we were it was supposed to be a very
relaxing vacation, but and listen, we still had fun. Don't
(01:04):
get me wrong. We went with a big group of family,
but what happened over those seven days was so exhausting.
I'm actually happy just to be back home. I think
usually on vacation, once it kind of winds down, I'm
ready to go home. I'm not really ready to go
back to work necessarily, just you know, I got to
(01:27):
see my animals, I gotta lay in my bed, that
kind of stuff. But this one started with as soon
as we got to the condo, my wife's car started
acting up. The windshield wipers started moving when the car
was off. So I've heard that's not good. I don't
know much about cars, but I've heard that's not good.
(01:49):
And then later on we took it just for about
ten minutes down the road to go to the grocery store,
and I think every light that could light up on
the dashboard did assistant. The power steering went out. So
we got it back, and my cousin's husband, he knows
(02:10):
a little bit about cars, we were messing with it.
We messed with the battery, we got to get that checked,
and we looked at the fuse box, did all these things.
But in the meantime, my power break, my emergency power
brake went on and would not come off. So then
I'm stuck. So long story short, I had to get
my car towed on a Monday to the dealership, and
(02:37):
we finally got it back on Thursday after a couple
of fun calls. And if you're thinking, man, how that wow,
Well that was only the beginning. Because my cousin and
her husband they have a little girl, and she ended
up getting an ear infection after running a fever, and
(02:59):
so because of the medicine, she really wasn't able to
go to the beach of the pool for the last
oh I don't know three days of vacation, my son
ended up getting swimmer's ear, and that didn't really stop
him from the ocean and pool, but we did have
to take some precautions and some antibiotics, and then back
(03:19):
home we had two family members that ended up in
the hospital. So to say that, I don't think I've
ever had a situation where I've come back from vacation
and I genuinely thought we made it. We did it,
we made it through. So so anyway, Prittido Keys where
(03:43):
we stayed, and I don't know if they'll appreciate this
or not, but that place is cursed and I'm never
going back. But besides that, let's see my wife's birthday
earlier this month. She is not a birthday person, unlike me.
I love it, and mine's next month, so I can't wait.
But we celebrated that, and yeah, we got back yesterday
(04:08):
afternoon and here we are this morning. But I don't
know if anyone else has ever had quite a vacation
like that, But if you have, I feel your pain.
It's felt like when was this break coming? But when
I look at it now that it's all said and done,
I mean, one, listen, there could be worse places to
(04:29):
be broke down at than at a condo that's on
the beach. So I mean, I get it, but anybody knows,
especially with a car. I don't know much about cars,
and I'm not in Nashville, so it's just it was stressful.
It was just stressful. But I will tell you this,
my son had a blast with everybody. He does not
(04:50):
even know. He will never know the stress of that
vacation because he was drunk on pool sand, the ocean,
Mickey Mouse and put putt and ice cream. So he
had a great He had a great time. And that's
what it was. I can I can hang my hat
(05:12):
on that at least. So uh well, let's get into it.
Enough about my fun vacations. I'll let you know where
we go next year. I'm not taking a car, I
know that. So coming up first, Lim Neeson. Lim Neeson
is being such a silly goose. I'll tell you about
(05:35):
it next. The Naked Gun. Who knew that we needed
a legacy sequel to the Naked Gun that first started
back and I think what mid eighties with the one
(05:57):
and only Leslie Nielsen. But Leslie Nielsen, eat your heart out,
he's dead By the way in case anyone's wondering, But
Lim Neeson is our new Naked Gun and via Indy Wire,
this was an Indiewier interview title for the Naked Gun writers.
(06:17):
A guiding goal, what's the stupidest thing we can get
Liam Neeson to say? Says longtime screenwriting partners Dan Gregor
and Doug Man both grew up spoof freaks. So yes,
as they tell Indy Wire, there's a lot riding on
the reboot, but they've got the jokes and gags, Pamela
Anderson scatting, giant coffees and tvo noises to back it up.
(06:40):
The film, starring Liam Neeson is both a reimagining and
a continuation of the classic Naked Gun films of the
eighties and nineties. In it, Nisson is Frank Dreben Junior,
the grizzled cop son of original star Frank Dreben, the
incomparable late Leslie Nielsen, as we talked about, who also
happens to be seemingly genetically pre to wacky happenstance in
(07:01):
his day to day life. When Frank takes on a
big case which in heavidly brings him into the orbit
of the alluring Beth Davenport played by Pamela Anderson. He
has to use all his brain power, parenthese silly jokes
and muscle a love of chili dogs to save the day,
get the girl, and make everyone laugh while doing it.
(07:22):
Within that Indie Wire interview, they ask people have wanted
this kind of joy for a while. Naked Gun reboot
has been kicking around in Hollywood for years, and there
have been many iterations of star writers and director attached.
Did you guys take anything from the other scripts? Or
is this just you and Akiva? And we're talking about
Akiva Schaeffer, who is a part of the Lonely Island
(07:47):
Gang there. Gregor says, this is just us. Something that
felt very important was that the only reason this movie
exists in our minds is because Lim Neeson agreed to
do this. We were dead set that we needed to
really honor that original Airplane template of only casting dramatic
actors and looking at it really really through the lens
of drama. But we're comedians, and we're friends with comedians,
(08:11):
and it was very painful to tell all of our
comedian friends fuck off. And man says, we didn't have
to use fuck off, but we did, Gregor said, but
I insisted. I said, hey, come to my house. I
want to tell you something. With Lim There's really nobody
else in Hollywood who has both that gravitas and has
not sort of smirked his way out out of it
(08:34):
with a Marvel movie. Man can't says, or something lighter
or something like that, which is totally fine. He spent
the last fifteen years making these vigilante movies, making taken
in movies like that where he is the lone man
who is the only one who can get the daughter back,
the only one who can. And then Gregor intervenes a says,
punch of Wolf. I'm thinking he's thinking of The Gray, which,
(08:56):
let me tell you that is one of the best
and underrated. Limb needs some movies of all time. Man
goes on and says, So. The whole approach for it
for us three when we sat down, was like, we
have Lim Neeson, and Lim Neeson has this body of work,
so we have to go back into this body of work,
and also movies that haven't even been spoofed that he
(09:17):
isn't in all the John Wicks, the Mission Impossibles that
haven't been touched which is also a gift for us.
And Lim is not Leslie, and no one is Leslie Leslie.
He's a unicorn, and Lim is not trying to be that.
So it was let's lean into the fact that we
have Loom Neeson here is a generational talent, one of
the greatest of all time, and he's doing these silly lines.
That was the whole point. So it's less about the
(09:38):
other scripts or projects before. It's more just like Lim's here,
what can we do with them? Gregor says. The basic
task was what's the stupidest thing we can get Lim
Neeson to say? Man says, and we think we got
him to say some really stupid stuff. And then Gregory
ends this portion of the interview by saying, talking about Nisson,
(09:59):
he's such a good actor actor, so he'd show up
and really the first take would be perfect, almost without Phil.
It leaves us all this space to give him alternatives
and to play with it. Then he had this thing
that he would say after the script would make him
do something particularly embarrassing or awful when they kill, when
they'd yell cut, he would go like, I'm Oscar Schindler,
(10:21):
damn it, what's happened to me. I think he had
a really good time. You'll have a really good time
watching this. Naked gun Nisan is pitch perfect in this
stellar spoof movie that is short, absolutely ridiculous, hilarious, and
honors Nielsen's originals with such joy and admiration. I think
(10:45):
you can kind of tell that from the interview with
the writers. Pamela Anderson is fantastic. She shows off some
great comedic chops that scatting really is is pretty terrific.
Paul Walter Houser's in this as well has a few
good bits, and Danny Houston as the diabolical villain gets
to be really playful and is involved in a in
(11:10):
a very funny black eyed pe scene, and his fight
with Frank Junior at the end will have you I
honestly I think laughing out loud and I won't ruin it.
But that fight fits this movie so well that I
(11:33):
it was it was hilarious again. This is directed by
Akiva Schaeffer. He's a member of the Only Island. Their
humor as a as a whole is very much a
part of every movie that he does and has no
problem playing in this sandbox that's overflowing with goofiness. But
we're almost always rewarded for it. Anybody who's seen that
(11:56):
the pop Star movie, and I even dare say the
Chippindale movie that ended up just going straight to streaming
on Disney. Plus this is going back now. This is
a separate indie wire because I love it. It says
inside the naked gun scene that Shaeffer had to fight
to keep and this is not the one I thought
he would have to fight to keep, but it sort
(12:18):
of makes sense. So bear with me here. The nineteen
eighty eight original Love montage is truly a classic. The
Cheery Herman's Hermit nineteen sixty four hit is a smart fit.
Watching Leslie Nilsen and Priscilla Pressley laugh their way through
a first date to see Platoon is still funny, and
who can forget that body condom. The original had done
(12:41):
all of that so well, but so hit Others says,
we knew it had to be different than that, said Shaeffer.
And then there's also there's been thirty years of making
fun montages, whether it's Team America or whatever. There's not
a lot of room left in the montage. We were
debating not doing a montage and had a few other ideas.
Shaeffer said he was aware of Jack Frost, but had
(13:02):
only seen the trailer of the nineteen ninety eight Killer
Snowman movie. This certainly plays a part in this scene,
but there's also a Jack Frost that's actually a quite
family friendly movie with Michael Keaton in it, just for
everyone's f y I it wasn't a sub genre, if
you even call that. He had been consciously considering spoofing,
but one night, when he got up at four in
the morning to use the bathroom, the Snowman scene started
(13:25):
to play out in his head. When I got back
in bed, it had been percolating that that day in
the rider's room, and I just saw the entire thing
and wrote it into bullet point notes and then texted
it to Dan and Doug the writer's The next morning,
I came into the writer's room and they were like, yeah, done.
It honestly only changed teeny bits for production reasons, a
(13:45):
cabin instead of a house, but it never really changed.
That's not to say everyone involved with the Naked Gun
reboot initially understood the brilliance of the scene. It was
polarizing in script reads people I really respect, like Andy Sandberg.
When he read it for me, he was like, Snowman's
the best, do not let them cut it, knowing it
would be cuttable. It makes sense once you see the movie,
(14:06):
but at one point I did have to threaten to quit.
The fact that Akiva and when you see this scene
is it is beyond absurd, but it is hilarious. And honestly,
this the montage is as nuts as it sounds, and
it is funny as hell. But at first I actually
(14:27):
thought it was a dream sequence. And then when it
went to the next scene and I realized it wasn't,
I think I laughed even harder that that was supposed
to be a real situation that they just went through.
But there truly is a joke or a gag like
every other second, and there aren't too many that miss
(14:52):
After seeing I think all of us just how successful
Nissan is and his dead Pam Patrey. I feel like
he's about to become a comedy megastar if done right.
Anybody who has seen The Naked Gun, I don't know
if people kind of realized the comedy element that Nissan
(15:14):
could bring. And I think the only other comedy's really
ever been in. I think was How to How To
Die Him in a Million Ways in the West or
something that Seth MacFarlane directed. I know it had Charlie's
thron in it as well, and Seth MacFarlane's starred in it.
But the fact that Nissan has become an action star
(15:34):
before before this really benefits the movie. He's essentially spoofing
himself in many ways, and it's a freaking hoot. An
Oscar listen, an Oscar nominated dramatic actor to an action
icon in his mid fifties to now quite possibly a
comedy superstar in his seventies. He has a very particular
(15:58):
set of skills, skills he's acquired over a long, very
long career, creating a world where there's no genre he
can't kick ass in. And the fact that mister Nison
found love again on The Naked Gun with the one
and only Pamela Anderson. I believe it's probably one of
the greatest happily ever afters in cinematic history. I bet
(16:21):
the sex is off the charts. I was going to
say magically delicious since Nissan is Irish, but I didn't
want to get in trouble. The Naked Gun gets a
solid three and a half out of five, and coming
up next, the director of Barbarian is coming for them
(16:43):
kids next. I'm, of course talking about Weapons. I think
(17:03):
what a lot of people would consider maybe one of
the best horror films of the year. But before I
get into that, I have to share the story about
how bad Jordan Peel wanted this film for his Monkey
Paul Productions and how heads had to roll when he
lost out on it. This is a via a Vibe
(17:25):
dot Com says Jordan Peele parted ways with his management
team after losing Weapons. Bidding war. Zach Craigor's Weapons is
set to be the next biggest film as far as
hard as concern. There was a bidding war, as they say,
but says according to Deadline, the film sold a new
line for thirty eight million, including the budget and Craiger's
ten million total payment for his directing fee, scripting, and
(17:48):
producing alongside some other folks, says Universal in partnership at
Jordan Peel Monkey Paul Productions was outbid by seven million dollar.
Peel was so eager to secure the film that he
was reportedly ready to kick in part of his contractual
back end. This, however, costed some strife. One version of
(18:11):
events claims that Peel was pissed because he was allegedly
told that if he matched new Line's bid, he'd win,
but the US Visionary and Universal weren't confident about the
budget as a business proposition. This was the reasoning behind
them backing out. Amid the auction and negotiating, Peel parted
ways with his longtime artists first management team Joel Zadek
(18:35):
and Peter Precipito, who happens the latter is also Krigger's manager.
I'm gonna go ahead and say I think Peel knew then.
What we all know now is that weapons is unlike
anything we've seen before at the movies. This is per
(18:56):
rotten tomatoesman. All but one child from the same class
mysteriously van on the same night at exactly the same time.
A community is left questioning who or what is behind
is behind their disappearance. Zach Kreger's that's right that Zach
Creger's the co director of Miss March. If anny want
to see that thing is the new master of horror,
(19:20):
it's looking like it. His first solo feature, Barbarian, was
frightening funny and fun through ways that were unconventional, clever,
and wild. He fed on our fears of a nightmarish
Airbnb experience, pitch black, creepy basements. On top of that,
it positioned itself as a surprisingly social thriller of men's
(19:41):
barbaric treatment of women. It had this unyielding sense of
dread that keeps us entertained and on edge. The deeper
we stepped into the darkness, and so much of what
I think made barbarian what it was and what we experienced,
feeds into weapons, except it's all turned up a few notches.
(20:03):
Craigor's has been fine tuning his skills as a writer
and filmmaker, and it shows in astounding ways his divine direction,
his outstanding storytelling, and stunning imagery that can be found
in his latest psychological Horror. And also I'll have you
known it also doesn't hurt to have the one and
only David Fincher help you out with some creative ideas,
(20:26):
and you can go look that up. Craigor's talks about
having access to Fincher and being able to find these
ways of getting what you want and taking kind of
advantage of these resources that Creggor's has never really they
didn't really know about uh So Weapons. It's chilling and clever,
frightening and darkly funny, and for Craggers, it was pretty personal.
(20:50):
This is a via slash excuse me, a via slash film.
There's an exclusive interview with Zach Craigers and this was
by Chris Evangelista. He said, I had read that the
book The Gift of Fear partially inspired Barbarian. I'm wondering
(21:12):
was if something was similar here. Again, I know you
don't want to go into spoys, but if there was
anything that inspired this specific story or the stories really,
because there are many. Craiger says, Yeah, it was a
personal tragedy that happened in my life. So it wasn't
like a piece of media or anything like that, but
it was just something that happened to me. It's much
more if Barbarian was an outward facing movie, a movie
(21:34):
that had a lot to say about society. Says that
sounds so pretentious, but it was a movie that was
looking out and talking about the world, whereas Weapons is
a movie that's very much like me looking inwards and
inventorying my shit, my life. It's an autobiographical movie. In
a lot of ways, excuse me. This tragedy does revolve
(22:00):
around the death of his close personal friend and collaborator,
Trevor Moore. Uh he was the co founder. Also, Craiger
was a part of Call the Whitest Kid you know More.
Accidentally fell from his upstairs balcony and died on August seventh,
and it says supposedly that Weapons was released on August seventh.
(22:28):
There is speculation. I don't know, I could not I
couldn't find any confirmation of it, but there is belief
that the the cops were called at two thirty am,
leaving some to think that the time in the movie
of two seventeen when the kids go missing may have
(22:48):
been when he actually fell. So so obviously it's very
much And actually Trevor Moore, I think was the other
director in Miss Margin starred in it with him, So
so yeah that I would have never have thought that
on something about this, but nowhere it's just like he
(23:09):
kind of just kept writing and it all kind of
came from his buddy and his accidental death. So the
storytelling aspect of Weapons, I really dug it kind of
actually caught me off guard. He didn't realize that was
kind of structure. But it's kind of that magnolia pulp
fiction with different perspectives being shown from the different characters
(23:32):
that kind of all lead to their past colliding. This
is a review by Brian Tellurco Teleco from Rogerdibert dot Com. Says,
a film driven by competing narratives and hidden secrets. It's
a movie about what's in your neighbor's basement, or something
deadly in a criminal's pocket, something waiting to jump out
(23:53):
and hurt you, And so the structural the structural aspect
of it serves as the foundation for thematic undercurrents rather
than just a showy choice. It amplifies how a divided
response to tragedy can only lead to greater trauma. On
top of the structure, the script it is deranged and
(24:16):
funny an equal measure, The editing is divine. It's the
fractured narrative. It allows us to see each character's journey,
their faults and struggles, then ventially leads to the choices
that they make that just might seal their fate. A
killer score and George Harrison's Beware of Darkness is perhaps
(24:42):
the perfect song to open the film on. Read some
of those lyrics to that song and you'll understand why
after you see the movie. Kragger's in The atmosphere is fantastic.
It's unsettling, it's eerie. There always seems to be this
constant You're always in this constant state of dread. The scares,
(25:05):
I will say, there's not too many, but the ones
we do get are pretty effective, and at times they
the movie ends up getting. It's it's almost it's almost
too fast. It kind of hits you, but it is
very brutal at times. Julia Gardner Josh Brolin, they are great.
(25:29):
I think they're They're one of the two obviously main standouts.
Julia Gardner is the teacher who is sort of kind
of the scapegoat for the community, thinking there must be
something she's done. What does she do? What does she know?
And she's not only caring that, but she does. She
is a teacher that cares, and so the fact that
(25:50):
her whole class just disappears is not only frightening, but
she has this relationship with these kids and so she
wants to know what happened to them just as much
as the parents do. And Josh Brolin is one of
those parents, and he's coming at it from something's happened,
(26:12):
and he kind of starts his own little investigation and
it's kind of becomes where he's not really concerned about
how others may, how he how he may affect others
while he's trying to get the answers that that he wants.
Carrie Christopher Benedict Wong Alden, I can write, They're a
(26:37):
great Alden. I thought did a nice job. And again,
all of these characters have something going on and it
almost kind of brings out a tragedy like this almost
brings out the worst uh in these uh in these characters.
(26:58):
Austin Abrams he if you've seen him and other stuff,
but he is he is great. He was recently in
The Wolf's movie with George Clooney and Brad Pitt as
the kid running around his underwear. He's a scene stealer.
He plays basically an addict, but it's very it comes
(27:20):
out of left field, but his character ends up being
such a pivotal part of all of it and sort
of how we how we're all kind of led to
this one spot where everything is happening. But I really
liked him minute, and then there's Amy Madigan. She plays
Aunt Gladys. The film itself mors into something way more sinister.
(27:44):
When she shows up on screen, she's instantly spellbinding. We
get to the and everything sort of leads up right
to this third act, and then there's this reveal. I
am not going to go in details about it. I
don't want to ruin it for anybody that hasn't seen it,
but I personally think that it doesn't fully deliver, and
(28:08):
I think a lot of that is because it comes
after such a tense and gripping build up, and I honestly,
when it happened, my first question was did this abruptly
become just a twisted and gruesome hocus pocus. However, however,
(28:29):
stick with me here. When it all comes to a head,
what we get is still tremendous. It's an ending that
could certainly lose some people, but I found it to
be a wonderfully wild way to go out. I don't
think Craigers would have would have wanted it any other way.
Weapons As a whole, I think it's unlike any horror
(28:51):
film you've seen, and as intriguing as the mystery is,
it's really less about that and more about what the
disappearance is un and the people who live in this community.
It's their anger, their grief, their trauma, their selfishness, the paranoia,
the guilt, the fear, and the hatred. It's all weaponized.
(29:13):
It's just to what degree and no one here and
weapons escapes and scathes, but the reasons are all completely different.
Ultimately coming back around to the kids bearing the brunt
of it all. The final shot, along with the child
narrator that opens the film as well, that Weapons ends
(29:35):
on is a haunting reminder of that. It's fucking frightening
how weapons can take many forms while still causing the
exact same, irrefutable and irreparable damage. I'm giving Weapons a
four out of five stars and coming up next Better Call,
Saul just wants to make family memories and there's a
(29:57):
batshit crazy Sharon Stone who can help nobody too. The original,
for those who have seen it, I thought was a
fun and fanciful revenge action flick. It was fast paced
(30:17):
and darkly comedic and had a nice, you know, family
element mixed in, and it truly doesn't get any better
than Old Bob Oden Kirks a bang up performance of
an unforeseen badass who takes a licking and keeps on ticking.
Per Rotten Tomatoes Nobody Too workaholic assassin hutch Mansell takes
his family on a much needed vacation to the small
(30:38):
tourist town of Plumberville. However, he soon finds himself in
the crosshairs of a corrupt theme park operator, a shady sheriff,
and a bloodthirsty crime boss. Listen, I'm sorry, folks, but
this one here, I think, is a lackluster sequel that
tosses the tone of the first one, like right out
of the window in like the first thirty month. So
(31:01):
it's certainly more cartoonish. Yet the noel holds barred violence
still delivers. Uh. This is via discussing film, Bob Odenkirk says,
for me, what mattered in the second movie was what's
something that a couple could relate to as attention in
their life. One of the big ones in America, I
don't know if it's around the world, is the inability
(31:23):
to take a fucking break and not work constantly or
worry about our jobs. I think it's a relatable thing.
People are very driven in our country. It's a great thing,
but you also have to give yourself a fucking break,
and Hutch just can't do it. Most people can't do it.
I've struggled to do it myself. That is a great idea,
(31:45):
and he's spot on with that. However, in Nobody Too,
when they're even on vacation, Hutch is hardly with his
family and they all seem like they're they're pretty much
okay with it. So I don't know how we for
this and what mattered the most, according to Odinkirk, is
(32:07):
not really shared. I'm not saying it's not discussed and
it's I mean, you know, it's thrown around, but when
it actually comes time about taking this break, and that's
all he wants to do. He just wants to make memories.
But all of this crazy shit is happening, and his wife,
Connie Nilsen, and his kids, like everybody is just like, oh,
(32:28):
I guess his dad gonna join us, Like it's almost
just like okay. Also, the movie does touch on some
interesting or at least somewhat interesting husband father issues that
deals with Hutches marriage, his son taking after his old man.
But then it's like we almost instantly forget about them too,
(32:53):
And I get it. We're here to see bones break
and blood splatter, but it it sucks that there are
things in here that I think had the They had
the best of intentions, but it is not. It doesn't
play out that will Uh. Now, I will say the
(33:16):
slick back Sharon Stone, she's unhinged and I mean she's
doing like crazy campy stuff here. Uh. I'm pretty sure
the director just pointed the camera at her and turned
it on and just let her do whatever the hell
she felt like doing. And sometimes it works because Nobody
to itself embraces the full and the foolishness quite a bit.
(33:39):
As far as Oden Kirk, look, you can't help but
ride or die with him, and I also the beloved
Christopher Lloyd for that matter. But Odin Kirk is fantastic
and is undoubtedly what pushes this movie across the finish line.
You're almost always sort of locked into how Hutch rolls.
(34:00):
It seems like trouble can't help but find him, and
he hits it head on. He's fun to watch, even
if director, oh boy, I should have practiced this Timo
to Janto, He's the director of the night comes for
us if you haven't seen it, but I just don't.
(34:20):
It just doesn't feel like he can he can raise
nobody to to Odin Kirk's level. It's clearly Odin Kirk
and then everything's kind of beneath that. And part of
it is is because he is so good, he's also
so believable. Is this kind of action star sort of
like the way I think Loomnison kind of came under
(34:41):
the scene with Taken. But but there are some there's
just there's some lame moments provided in the name of
this overall goofiness of everything. So of course, also how
fitting is it to have its final shootout at a
theme park? But at least Nobody Too still has a
pretty good sense of humor about itself, which I mean
(35:06):
sort of has you accepting the absurdity. You you sort
of know that you're gonna get in. You kind of
know what you're getting into. What I I think the
main issue that I take issue with is that it's
almost like we we needed a Nobody to and we
(35:27):
even kind of start out the sequel like Nobody, but
then we just toss that for some dumb amusement park
vacation thing with there's so much stuff just feels like
it's over the top. It's not as funny, it's more familiar,
(35:47):
it's more predictable. I think fans of the first one
won't I don't think I don't think you'll be disappointed,
but I do think you should be far less impressed
as well. I'm giving Nobody two two and a half
out of five stars with vick Flicks rating, and that
(36:08):
will wrap up another volume of these cinema chronicles on
Nashville Movie Dispatch. This is your host, Brandon vic again,
member of the Music's Board, member of the Music City
Film Critics Association, member of the Southeastern Film Critics Association. Remember,
(36:29):
all of our work can be found on Nashville Moviedispatch
dot substack dot com. I'll be back next month as
one year older and with another volume of these cinema chronicles.
And until then, just go see a damn movie.
Hey ya, Halidy High. Another volume of these cinema chronicles
right here on Nashville Movie Dispatch is here and ready
to go. This is a fine sunny Sunday morning here.
I just got back from vacation and went to the beach,
(00:41):
went down to Florida, got to tour Alligator Alcatraz right
there on the beach. It's really nice. And we were
actually set up right in between Pensacola and Orange Beach,
and we were it was supposed to be a very
relaxing vacation, but and listen, we still had fun. Don't
(01:04):
get me wrong. We went with a big group of family,
but what happened over those seven days was so exhausting.
I'm actually happy just to be back home. I think
usually on vacation, once it kind of winds down, I'm
ready to go home. I'm not really ready to go
back to work necessarily, just you know, I got to
(01:27):
see my animals, I gotta lay in my bed, that
kind of stuff. But this one started with as soon
as we got to the condo, my wife's car started
acting up. The windshield wipers started moving when the car
was off. So I've heard that's not good. I don't
know much about cars, but I've heard that's not good.
(01:49):
And then later on we took it just for about
ten minutes down the road to go to the grocery store,
and I think every light that could light up on
the dashboard did assistant. The power steering went out. So
we got it back, and my cousin's husband, he knows
(02:10):
a little bit about cars, we were messing with it.
We messed with the battery, we got to get that checked,
and we looked at the fuse box, did all these things.
But in the meantime, my power break, my emergency power
brake went on and would not come off. So then
I'm stuck. So long story short, I had to get
my car towed on a Monday to the dealership, and
(02:37):
we finally got it back on Thursday after a couple
of fun calls. And if you're thinking, man, how that wow,
Well that was only the beginning. Because my cousin and
her husband they have a little girl, and she ended
up getting an ear infection after running a fever, and
(02:59):
so because of the medicine, she really wasn't able to
go to the beach of the pool for the last
oh I don't know three days of vacation, my son
ended up getting swimmer's ear, and that didn't really stop
him from the ocean and pool, but we did have
to take some precautions and some antibiotics, and then back
(03:19):
home we had two family members that ended up in
the hospital. So to say that, I don't think I've
ever had a situation where I've come back from vacation
and I genuinely thought we made it. We did it,
we made it through. So so anyway, Prittido Keys where
(03:43):
we stayed, and I don't know if they'll appreciate this
or not, but that place is cursed and I'm never
going back. But besides that, let's see my wife's birthday
earlier this month. She is not a birthday person, unlike me.
I love it, and mine's next month, so I can't wait.
But we celebrated that, and yeah, we got back yesterday
(04:08):
afternoon and here we are this morning. But I don't
know if anyone else has ever had quite a vacation
like that, But if you have, I feel your pain.
It's felt like when was this break coming? But when
I look at it now that it's all said and done,
I mean, one, listen, there could be worse places to
(04:29):
be broke down at than at a condo that's on
the beach. So I mean, I get it, but anybody knows,
especially with a car. I don't know much about cars,
and I'm not in Nashville, so it's just it was stressful.
It was just stressful. But I will tell you this,
my son had a blast with everybody. He does not
(04:50):
even know. He will never know the stress of that
vacation because he was drunk on pool sand, the ocean,
Mickey Mouse and put putt and ice cream. So he
had a great He had a great time. And that's
what it was. I can I can hang my hat
(05:12):
on that at least. So uh well, let's get into it.
Enough about my fun vacations. I'll let you know where
we go next year. I'm not taking a car, I
know that. So coming up first, Lim Neeson. Lim Neeson
is being such a silly goose. I'll tell you about
(05:35):
it next. The Naked Gun. Who knew that we needed
a legacy sequel to the Naked Gun that first started
back and I think what mid eighties with the one
(05:57):
and only Leslie Nielsen. But Leslie Nielsen, eat your heart out,
he's dead By the way in case anyone's wondering, But
Lim Neeson is our new Naked Gun and via Indy Wire,
this was an Indiewier interview title for the Naked Gun writers.
(06:17):
A guiding goal, what's the stupidest thing we can get
Liam Neeson to say? Says longtime screenwriting partners Dan Gregor
and Doug Man both grew up spoof freaks. So yes,
as they tell Indy Wire, there's a lot riding on
the reboot, but they've got the jokes and gags, Pamela
Anderson scatting, giant coffees and tvo noises to back it up.
(06:40):
The film, starring Liam Neeson is both a reimagining and
a continuation of the classic Naked Gun films of the
eighties and nineties. In it, Nisson is Frank Dreben Junior,
the grizzled cop son of original star Frank Dreben, the
incomparable late Leslie Nielsen, as we talked about, who also
happens to be seemingly genetically pre to wacky happenstance in
(07:01):
his day to day life. When Frank takes on a
big case which in heavidly brings him into the orbit
of the alluring Beth Davenport played by Pamela Anderson. He
has to use all his brain power, parenthese silly jokes
and muscle a love of chili dogs to save the day,
get the girl, and make everyone laugh while doing it.
(07:22):
Within that Indie Wire interview, they ask people have wanted
this kind of joy for a while. Naked Gun reboot
has been kicking around in Hollywood for years, and there
have been many iterations of star writers and director attached.
Did you guys take anything from the other scripts? Or
is this just you and Akiva? And we're talking about
Akiva Schaeffer, who is a part of the Lonely Island
(07:47):
Gang there. Gregor says, this is just us. Something that
felt very important was that the only reason this movie
exists in our minds is because Lim Neeson agreed to
do this. We were dead set that we needed to
really honor that original Airplane template of only casting dramatic
actors and looking at it really really through the lens
of drama. But we're comedians, and we're friends with comedians,
(08:11):
and it was very painful to tell all of our
comedian friends fuck off. And man says, we didn't have
to use fuck off, but we did, Gregor said, but
I insisted. I said, hey, come to my house. I
want to tell you something. With Lim There's really nobody
else in Hollywood who has both that gravitas and has
not sort of smirked his way out out of it
(08:34):
with a Marvel movie. Man can't says, or something lighter
or something like that, which is totally fine. He spent
the last fifteen years making these vigilante movies, making taken
in movies like that where he is the lone man
who is the only one who can get the daughter back,
the only one who can. And then Gregor intervenes a says,
punch of Wolf. I'm thinking he's thinking of The Gray, which,
(08:56):
let me tell you that is one of the best
and underrated. Limb needs some movies of all time. Man
goes on and says, So. The whole approach for it
for us three when we sat down, was like, we
have Lim Neeson, and Lim Neeson has this body of work,
so we have to go back into this body of work,
and also movies that haven't even been spoofed that he
(09:17):
isn't in all the John Wicks, the Mission Impossibles that
haven't been touched which is also a gift for us.
And Lim is not Leslie, and no one is Leslie Leslie.
He's a unicorn, and Lim is not trying to be that.
So it was let's lean into the fact that we
have Loom Neeson here is a generational talent, one of
the greatest of all time, and he's doing these silly lines.
That was the whole point. So it's less about the
(09:38):
other scripts or projects before. It's more just like Lim's here,
what can we do with them? Gregor says. The basic
task was what's the stupidest thing we can get Lim
Neeson to say? Man says, and we think we got
him to say some really stupid stuff. And then Gregory
ends this portion of the interview by saying, talking about Nisson,
(09:59):
he's such a good actor actor, so he'd show up
and really the first take would be perfect, almost without Phil.
It leaves us all this space to give him alternatives
and to play with it. Then he had this thing
that he would say after the script would make him
do something particularly embarrassing or awful when they kill, when
they'd yell cut, he would go like, I'm Oscar Schindler,
(10:21):
damn it, what's happened to me. I think he had
a really good time. You'll have a really good time
watching this. Naked gun Nisan is pitch perfect in this
stellar spoof movie that is short, absolutely ridiculous, hilarious, and
honors Nielsen's originals with such joy and admiration. I think
(10:45):
you can kind of tell that from the interview with
the writers. Pamela Anderson is fantastic. She shows off some
great comedic chops that scatting really is is pretty terrific.
Paul Walter Houser's in this as well has a few
good bits, and Danny Houston as the diabolical villain gets
to be really playful and is involved in a in
(11:10):
a very funny black eyed pe scene, and his fight
with Frank Junior at the end will have you I
honestly I think laughing out loud and I won't ruin it.
But that fight fits this movie so well that I
(11:33):
it was it was hilarious again. This is directed by
Akiva Schaeffer. He's a member of the Only Island. Their
humor as a as a whole is very much a
part of every movie that he does and has no
problem playing in this sandbox that's overflowing with goofiness. But
we're almost always rewarded for it. Anybody who's seen that
(11:56):
the pop Star movie, and I even dare say the
Chippindale movie that ended up just going straight to streaming
on Disney. Plus this is going back now. This is
a separate indie wire because I love it. It says
inside the naked gun scene that Shaeffer had to fight
to keep and this is not the one I thought
he would have to fight to keep, but it sort
(12:18):
of makes sense. So bear with me here. The nineteen
eighty eight original Love montage is truly a classic. The
Cheery Herman's Hermit nineteen sixty four hit is a smart fit.
Watching Leslie Nilsen and Priscilla Pressley laugh their way through
a first date to see Platoon is still funny, and
who can forget that body condom. The original had done
(12:41):
all of that so well, but so hit Others says,
we knew it had to be different than that, said Shaeffer.
And then there's also there's been thirty years of making
fun montages, whether it's Team America or whatever. There's not
a lot of room left in the montage. We were
debating not doing a montage and had a few other ideas.
Shaeffer said he was aware of Jack Frost, but had
(13:02):
only seen the trailer of the nineteen ninety eight Killer
Snowman movie. This certainly plays a part in this scene,
but there's also a Jack Frost that's actually a quite
family friendly movie with Michael Keaton in it, just for
everyone's f y I it wasn't a sub genre, if
you even call that. He had been consciously considering spoofing,
but one night, when he got up at four in
the morning to use the bathroom, the Snowman scene started
(13:25):
to play out in his head. When I got back
in bed, it had been percolating that that day in
the rider's room, and I just saw the entire thing
and wrote it into bullet point notes and then texted
it to Dan and Doug the writer's The next morning,
I came into the writer's room and they were like, yeah, done.
It honestly only changed teeny bits for production reasons, a
(13:45):
cabin instead of a house, but it never really changed.
That's not to say everyone involved with the Naked Gun
reboot initially understood the brilliance of the scene. It was
polarizing in script reads people I really respect, like Andy Sandberg.
When he read it for me, he was like, Snowman's
the best, do not let them cut it, knowing it
would be cuttable. It makes sense once you see the movie,
(14:06):
but at one point I did have to threaten to quit.
The fact that Akiva and when you see this scene
is it is beyond absurd, but it is hilarious. And honestly,
this the montage is as nuts as it sounds, and
it is funny as hell. But at first I actually
(14:27):
thought it was a dream sequence. And then when it
went to the next scene and I realized it wasn't,
I think I laughed even harder that that was supposed
to be a real situation that they just went through.
But there truly is a joke or a gag like
every other second, and there aren't too many that miss
(14:52):
After seeing I think all of us just how successful
Nissan is and his dead Pam Patrey. I feel like
he's about to become a comedy megastar if done right.
Anybody who has seen The Naked Gun, I don't know
if people kind of realized the comedy element that Nissan
(15:14):
could bring. And I think the only other comedy's really
ever been in. I think was How to How To
Die Him in a Million Ways in the West or
something that Seth MacFarlane directed. I know it had Charlie's
thron in it as well, and Seth MacFarlane's starred in it.
But the fact that Nissan has become an action star
(15:34):
before before this really benefits the movie. He's essentially spoofing
himself in many ways, and it's a freaking hoot. An
Oscar listen, an Oscar nominated dramatic actor to an action
icon in his mid fifties to now quite possibly a
comedy superstar in his seventies. He has a very particular
(15:58):
set of skills, skills he's acquired over a long, very
long career, creating a world where there's no genre he
can't kick ass in. And the fact that mister Nison
found love again on The Naked Gun with the one
and only Pamela Anderson. I believe it's probably one of
the greatest happily ever afters in cinematic history. I bet
(16:21):
the sex is off the charts. I was going to
say magically delicious since Nissan is Irish, but I didn't
want to get in trouble. The Naked Gun gets a
solid three and a half out of five, and coming
up next, the director of Barbarian is coming for them
(16:43):
kids next. I'm, of course talking about Weapons. I think
(17:03):
what a lot of people would consider maybe one of
the best horror films of the year. But before I
get into that, I have to share the story about
how bad Jordan Peel wanted this film for his Monkey
Paul Productions and how heads had to roll when he
lost out on it. This is a via a Vibe
(17:25):
dot Com says Jordan Peele parted ways with his management
team after losing Weapons. Bidding war. Zach Craigor's Weapons is
set to be the next biggest film as far as
hard as concern. There was a bidding war, as they say,
but says according to Deadline, the film sold a new
line for thirty eight million, including the budget and Craiger's
ten million total payment for his directing fee, scripting, and
(17:48):
producing alongside some other folks, says Universal in partnership at
Jordan Peel Monkey Paul Productions was outbid by seven million dollar.
Peel was so eager to secure the film that he
was reportedly ready to kick in part of his contractual
back end. This, however, costed some strife. One version of
(18:11):
events claims that Peel was pissed because he was allegedly
told that if he matched new Line's bid, he'd win,
but the US Visionary and Universal weren't confident about the
budget as a business proposition. This was the reasoning behind
them backing out. Amid the auction and negotiating, Peel parted
ways with his longtime artists first management team Joel Zadek
(18:35):
and Peter Precipito, who happens the latter is also Krigger's manager.
I'm gonna go ahead and say I think Peel knew then.
What we all know now is that weapons is unlike
anything we've seen before at the movies. This is per
(18:56):
rotten tomatoesman. All but one child from the same class
mysteriously van on the same night at exactly the same time.
A community is left questioning who or what is behind
is behind their disappearance. Zach Kreger's that's right that Zach
Creger's the co director of Miss March. If anny want
to see that thing is the new master of horror,
(19:20):
it's looking like it. His first solo feature, Barbarian, was
frightening funny and fun through ways that were unconventional, clever,
and wild. He fed on our fears of a nightmarish
Airbnb experience, pitch black, creepy basements. On top of that,
it positioned itself as a surprisingly social thriller of men's
(19:41):
barbaric treatment of women. It had this unyielding sense of
dread that keeps us entertained and on edge. The deeper
we stepped into the darkness, and so much of what
I think made barbarian what it was and what we experienced,
feeds into weapons, except it's all turned up a few notches.
(20:03):
Craigor's has been fine tuning his skills as a writer
and filmmaker, and it shows in astounding ways his divine direction,
his outstanding storytelling, and stunning imagery that can be found
in his latest psychological Horror. And also I'll have you
known it also doesn't hurt to have the one and
only David Fincher help you out with some creative ideas,
(20:26):
and you can go look that up. Craigor's talks about
having access to Fincher and being able to find these
ways of getting what you want and taking kind of
advantage of these resources that Creggor's has never really they
didn't really know about uh So Weapons. It's chilling and clever,
frightening and darkly funny, and for Craggers, it was pretty personal.
(20:50):
This is a via slash excuse me, a via slash film.
There's an exclusive interview with Zach Craigers and this was
by Chris Evangelista. He said, I had read that the
book The Gift of Fear partially inspired Barbarian. I'm wondering
(21:12):
was if something was similar here. Again, I know you
don't want to go into spoys, but if there was
anything that inspired this specific story or the stories really,
because there are many. Craiger says, Yeah, it was a
personal tragedy that happened in my life. So it wasn't
like a piece of media or anything like that, but
it was just something that happened to me. It's much
more if Barbarian was an outward facing movie, a movie
(21:34):
that had a lot to say about society. Says that
sounds so pretentious, but it was a movie that was
looking out and talking about the world, whereas Weapons is
a movie that's very much like me looking inwards and
inventorying my shit, my life. It's an autobiographical movie. In
a lot of ways, excuse me. This tragedy does revolve
(22:00):
around the death of his close personal friend and collaborator,
Trevor Moore. Uh he was the co founder. Also, Craiger
was a part of Call the Whitest Kid you know More.
Accidentally fell from his upstairs balcony and died on August seventh,
and it says supposedly that Weapons was released on August seventh.
(22:28):
There is speculation. I don't know, I could not I
couldn't find any confirmation of it, but there is belief
that the the cops were called at two thirty am,
leaving some to think that the time in the movie
of two seventeen when the kids go missing may have
(22:48):
been when he actually fell. So so obviously it's very
much And actually Trevor Moore, I think was the other
director in Miss Margin starred in it with him, So
so yeah that I would have never have thought that
on something about this, but nowhere it's just like he
(23:09):
kind of just kept writing and it all kind of
came from his buddy and his accidental death. So the
storytelling aspect of Weapons, I really dug it kind of
actually caught me off guard. He didn't realize that was
kind of structure. But it's kind of that magnolia pulp
fiction with different perspectives being shown from the different characters
(23:32):
that kind of all lead to their past colliding. This
is a review by Brian Tellurco Teleco from Rogerdibert dot Com. Says,
a film driven by competing narratives and hidden secrets. It's
a movie about what's in your neighbor's basement, or something
deadly in a criminal's pocket, something waiting to jump out
(23:53):
and hurt you, And so the structural the structural aspect
of it serves as the foundation for thematic undercurrents rather
than just a showy choice. It amplifies how a divided
response to tragedy can only lead to greater trauma. On
top of the structure, the script it is deranged and
(24:16):
funny an equal measure, The editing is divine. It's the
fractured narrative. It allows us to see each character's journey,
their faults and struggles, then ventially leads to the choices
that they make that just might seal their fate. A
killer score and George Harrison's Beware of Darkness is perhaps
(24:42):
the perfect song to open the film on. Read some
of those lyrics to that song and you'll understand why
after you see the movie. Kragger's in The atmosphere is fantastic.
It's unsettling, it's eerie. There always seems to be this
constant You're always in this constant state of dread. The scares,
(25:05):
I will say, there's not too many, but the ones
we do get are pretty effective, and at times they
the movie ends up getting. It's it's almost it's almost
too fast. It kind of hits you, but it is
very brutal at times. Julia Gardner Josh Brolin, they are great.
(25:29):
I think they're They're one of the two obviously main standouts.
Julia Gardner is the teacher who is sort of kind
of the scapegoat for the community, thinking there must be
something she's done. What does she do? What does she know?
And she's not only caring that, but she does. She
is a teacher that cares, and so the fact that
(25:50):
her whole class just disappears is not only frightening, but
she has this relationship with these kids and so she
wants to know what happened to them just as much
as the parents do. And Josh Brolin is one of
those parents, and he's coming at it from something's happened,
(26:12):
and he kind of starts his own little investigation and
it's kind of becomes where he's not really concerned about
how others may, how he how he may affect others
while he's trying to get the answers that that he wants.
Carrie Christopher Benedict Wong Alden, I can write, They're a
(26:37):
great Alden. I thought did a nice job. And again,
all of these characters have something going on and it
almost kind of brings out a tragedy like this almost
brings out the worst uh in these uh in these characters.
(26:58):
Austin Abrams he if you've seen him and other stuff,
but he is he is great. He was recently in
The Wolf's movie with George Clooney and Brad Pitt as
the kid running around his underwear. He's a scene stealer.
He plays basically an addict, but it's very it comes
(27:20):
out of left field, but his character ends up being
such a pivotal part of all of it and sort
of how we how we're all kind of led to
this one spot where everything is happening. But I really
liked him minute, and then there's Amy Madigan. She plays
Aunt Gladys. The film itself mors into something way more sinister.
(27:44):
When she shows up on screen, she's instantly spellbinding. We
get to the and everything sort of leads up right
to this third act, and then there's this reveal. I
am not going to go in details about it. I
don't want to ruin it for anybody that hasn't seen it,
but I personally think that it doesn't fully deliver, and
(28:08):
I think a lot of that is because it comes
after such a tense and gripping build up, and I honestly,
when it happened, my first question was did this abruptly
become just a twisted and gruesome hocus pocus. However, however,
(28:29):
stick with me here. When it all comes to a head,
what we get is still tremendous. It's an ending that
could certainly lose some people, but I found it to
be a wonderfully wild way to go out. I don't
think Craigers would have would have wanted it any other way.
Weapons As a whole, I think it's unlike any horror
(28:51):
film you've seen, and as intriguing as the mystery is,
it's really less about that and more about what the
disappearance is un and the people who live in this community.
It's their anger, their grief, their trauma, their selfishness, the paranoia,
the guilt, the fear, and the hatred. It's all weaponized.
(29:13):
It's just to what degree and no one here and
weapons escapes and scathes, but the reasons are all completely different.
Ultimately coming back around to the kids bearing the brunt
of it all. The final shot, along with the child
narrator that opens the film as well, that Weapons ends
(29:35):
on is a haunting reminder of that. It's fucking frightening
how weapons can take many forms while still causing the
exact same, irrefutable and irreparable damage. I'm giving Weapons a
four out of five stars and coming up next Better Call,
Saul just wants to make family memories and there's a
(29:57):
batshit crazy Sharon Stone who can help nobody too. The original,
for those who have seen it, I thought was a
fun and fanciful revenge action flick. It was fast paced
(30:17):
and darkly comedic and had a nice, you know, family
element mixed in, and it truly doesn't get any better
than Old Bob Oden Kirks a bang up performance of
an unforeseen badass who takes a licking and keeps on ticking.
Per Rotten Tomatoes Nobody Too workaholic assassin hutch Mansell takes
his family on a much needed vacation to the small
(30:38):
tourist town of Plumberville. However, he soon finds himself in
the crosshairs of a corrupt theme park operator, a shady sheriff,
and a bloodthirsty crime boss. Listen, I'm sorry, folks, but
this one here, I think, is a lackluster sequel that
tosses the tone of the first one, like right out
of the window in like the first thirty month. So
(31:01):
it's certainly more cartoonish. Yet the noel holds barred violence
still delivers. Uh. This is via discussing film, Bob Odenkirk says,
for me, what mattered in the second movie was what's
something that a couple could relate to as attention in
their life. One of the big ones in America, I
don't know if it's around the world, is the inability
(31:23):
to take a fucking break and not work constantly or
worry about our jobs. I think it's a relatable thing.
People are very driven in our country. It's a great thing,
but you also have to give yourself a fucking break,
and Hutch just can't do it. Most people can't do it.
I've struggled to do it myself. That is a great idea,
(31:45):
and he's spot on with that. However, in Nobody Too,
when they're even on vacation, Hutch is hardly with his
family and they all seem like they're they're pretty much
okay with it. So I don't know how we for
this and what mattered the most, according to Odinkirk, is
(32:07):
not really shared. I'm not saying it's not discussed and
it's I mean, you know, it's thrown around, but when
it actually comes time about taking this break, and that's
all he wants to do. He just wants to make memories.
But all of this crazy shit is happening, and his wife,
Connie Nilsen, and his kids, like everybody is just like, oh,
(32:28):
I guess his dad gonna join us, Like it's almost
just like okay. Also, the movie does touch on some
interesting or at least somewhat interesting husband father issues that
deals with Hutches marriage, his son taking after his old man.
But then it's like we almost instantly forget about them too,
(32:53):
And I get it. We're here to see bones break
and blood splatter, but it it sucks that there are
things in here that I think had the They had
the best of intentions, but it is not. It doesn't
play out that will Uh. Now, I will say the
(33:16):
slick back Sharon Stone, she's unhinged and I mean she's
doing like crazy campy stuff here. Uh. I'm pretty sure
the director just pointed the camera at her and turned
it on and just let her do whatever the hell
she felt like doing. And sometimes it works because Nobody
to itself embraces the full and the foolishness quite a bit.
(33:39):
As far as Oden Kirk, look, you can't help but
ride or die with him, and I also the beloved
Christopher Lloyd for that matter. But Odin Kirk is fantastic
and is undoubtedly what pushes this movie across the finish line.
You're almost always sort of locked into how Hutch rolls.
(34:00):
It seems like trouble can't help but find him, and
he hits it head on. He's fun to watch, even
if director, oh boy, I should have practiced this Timo
to Janto, He's the director of the night comes for
us if you haven't seen it, but I just don't.
(34:20):
It just doesn't feel like he can he can raise
nobody to to Odin Kirk's level. It's clearly Odin Kirk
and then everything's kind of beneath that. And part of
it is is because he is so good, he's also
so believable. Is this kind of action star sort of
like the way I think Loomnison kind of came under
(34:41):
the scene with Taken. But but there are some there's
just there's some lame moments provided in the name of
this overall goofiness of everything. So of course, also how
fitting is it to have its final shootout at a
theme park? But at least Nobody Too still has a
pretty good sense of humor about itself, which I mean
(35:06):
sort of has you accepting the absurdity. You you sort
of know that you're gonna get in. You kind of
know what you're getting into. What I I think the
main issue that I take issue with is that it's
almost like we we needed a Nobody to and we
(35:27):
even kind of start out the sequel like Nobody, but
then we just toss that for some dumb amusement park
vacation thing with there's so much stuff just feels like
it's over the top. It's not as funny, it's more familiar,
(35:47):
it's more predictable. I think fans of the first one
won't I don't think I don't think you'll be disappointed,
but I do think you should be far less impressed
as well. I'm giving Nobody two two and a half
out of five stars with vick Flicks rating, and that
(36:08):
will wrap up another volume of these cinema chronicles on
Nashville Movie Dispatch. This is your host, Brandon vic again,
member of the Music's Board, member of the Music City
Film Critics Association, member of the Southeastern Film Critics Association. Remember,
(36:29):
all of our work can be found on Nashville Moviedispatch
dot substack dot com. I'll be back next month as
one year older and with another volume of these cinema chronicles.
And until then, just go see a damn movie.
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