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This week on Really Entertaining A-list B-movies:
Hutch Mansell (Bob Odenkirk) is an unremarkable family man—or so everyone thinks. After a home invasion leaves him humiliated, his buried skills as a lethal former government operative resurface with a vengeance. What follows is a bone-crunching, darkly funny rampage through the criminal underworld, featuring stolen kitty bracelets, bus fights that feel like a stuntman’s love letter to pain, and a finale that turns suburban booby traps into mobster meat grinders. Directed by Ilya Naishuller, with Christopher Lloyd stealing scenes as Hutch’s gun-happy dad, this is a brutally efficient action flick that asks: what if John Wick had a mortgage?
Joe’s Back of the Box
Is he really a mild mannered auditor working for his father in law? On the surface our hero is a boring family man who has lost touch with what makes him happy. But buried deep beneath the surface is a secret…violent secret bubbling and boiling and ready to explode and if the wrong thing happens, nobody will be safe and nobody will be the same.
The REAL Back of the Box
This movie answers the question, what if John Wick had a family? And the answer is the same, he will kill them all. It is a fun and taut hour and a half of brutal action. The end dives into over the top trope land, but if you are like us, this will be a fun moment, even if it takes you out of the movie for a second. So sit back and relax and enjoy this movie. It’s well worth your time.
Note: This transcript has been auto-generated, so… You know… It’s not our fault.
Greg: Joe in the movie we watched this week. Bob Odenkirk has a special lasagna recipe that he says he’s going to make for his family, and that’s like a big deal for the family that he’s going to make his special lasagna recipe from scratch. Do you have any sort of, like, special recipes that your family especially loves?
Joe: Yeah, during the winter, I make a really mean vegetarian chili with tofu, so that’s really nice. I can make it vegan if need be and tune up the spice level depending on the audience. So that’s my go to when we need something and it lasts, you know. I don’t know if anyone’s ever made chili that just last for one night and makes the perfect amount.
Joe: It’s like a week. We have a week’s worth of chili.
Greg: Yeah.
Joe: So when I would make it when I was much younger, I tried to make it as spicy as possible.
Greg: As a dare. Yeah.
Joe: Pretty much. I don’t know if you remember The Simpsons episode where he goes to the chili contest and I’m like, takes the.
Greg: Hallucinogenic chili peppers? Yes.
Joe: It’s kind of my my plan.
Greg: So I watched that within like the last three months, by the way.
Joe: All right. What about you? What do you have a special recipe.
Greg: You know, I’m not known for my cooking, so I’m going to have to say that my recipe is to buy tickets to Italy. Like Bob Odenkirk does in this movie. And take my family there. Perfect. All right, let’s get to the show.
Joe: Let’s do it.
Clip: So they took maybe 20 bucks in an old watch. Mr. Madsen, did you even take a swing? No. Could have taken her dad. Why didn’t you take them out? I was just trying to keep the damage to a minimum. There’s a long dormant piece of me. That so very badly wants out.
Clip: Aspires to be what they call an auditor. The last guy anyone wants to see at their door. Because it meant you didn’t have long to live.
Clip: But I left it behind to start a family. Hey, hey.
Clip: I’m nobody.
Greg: The year is 2021, and Bob Odenkirk had an idea. What if someone broke into his house and he was basically a John Wick? So he called the guy who wrote John Wick, and they together hatched a plan to make a movie called nobody. We are talking about director Ilya Night Shuler teaming up with the stars, Bob Odenkirk. We’ve got Connie Nielsen, Christopher Lloyd, Michael Ironside, Colin Salmon.
Greg: I want to say Risa is in this movie. Yes. Unbelievable. This is a very exciting day for me to talk about this movie with you, Jo Jo Sky Tucker. What makes nobody a great bad movie?
Joe: It’s a really fun action movie, borrowing so heavily from John Wick, it is hard to watch this movie and not think of John Wick for me.
Greg: Totally impossible.
Joe: One I knew that they use 8711 as the stunt coordinating team on this. Yeah, they did new things, but there are moments throughout it where they they reference. So like shots of the city above slow helicopter shots over the city. And it really is. I mean, in my real back of the box, it opens with the question, what if John Wick was married with children is basically what this movie premise is.
Joe: I think I went into it thinking I was a little different. I thought it was more of a revenge movie where like, they break into his house and then he gets in shape and then goes and fights the bad guys, which is kind of the trope line that I was thinking when I watched it.
Greg: Sure.
Joe: And so that was the pleasant surprise that I had when I was watching it last night. You know, they break into his house. He’s like trying not to hurt them.
Greg:
Joe: There’s all kinds of stuff that’s happening. His son gets punched by one of the people that break into his house. There’s a line when he’s talking to Risa on the phone or you know, or like telling him that he made the right choice because you start to get these clues that maybe he isn’t just this mild mannered accountant who works for his father in law.
Greg: Defeated.
Joe: And then you go, oh, maybe there’s something more to it. And then there’s this amazing fight scene on a bus, and then he talks to Risa again, his brother, and he’s like, how you feel? Like you blew off some steam or something like that and like.
Greg: Oh, oh.
Joe: Okay, I see what we’re in for. So I would say amazing action scenes, very much in the vein of John Wick, though different. I would say it’s a different feel to it. It’s a different movie.
Greg: Yeah. Agreed.
Joe: But definitely borrowing heavily from that world, practical stunts that are done. So I thoroughly enjoyed this movie. Wow. But it does feel derivative.
Greg: Yes, there.
Joe: Were some new fun stuff in some of the scenes, but it wasn’t crazy like, oh my god, I’ve never seen anything like this before with some of this stuff. When you watch John Wick and it’s a new kind of, it changes action movies forever, kind of. Right? Yeah, yeah. But what did you think about this movie, Greg?
Greg: Yeah, I agree, this movie isn’t a game changer, but it’s like, what happens if you get some of the most talented people who are actors or directors or cinematographers and put them in a movie together where they’re actually caring about what they’re doing. It’s just a really well crafted movie in a way that I was not expecting when I watched it.
Greg: Although, you know, I did see a lot of really good press for this movie, but the bench runs really deep on this thing. Like Connie Nielsen is too good for this role. She needed more. You know, Michael Ironside is incredible. Risa is incredible, but you don’t really know it’s him. Whenever Christopher Lloyd shows up in the movie, it’s almost like royalty shows up like, oh, wow, they got the guy from back to the future.
Greg: Could they afford him? I feel like Christopher Lloyd is in some sort of subset of amazing actors that only work when they feel like it. Yeah. And it’s like oh wow, cool. He chose to be in this movie. It’s like Ben Kingsley. I feel that way sometimes about him. Like, oh my gosh, they got Ben Kingsley in the super minor movie.
Greg: So while this movie is really well-written with a lot of heart from Bob Odenkirk, and also he is like really trying to investigate his anger, really, that he realized was there when people broke into his house. That’s where this idea came from, came from real life stories of his family. So it goes to a different place than John Wick.
Greg: I feel like it’s an easier emotional leap for us to take. And then when it’s like he has this amazing past where he used to be something incredible. We don’t write. We have no idea what it was. That starts to be kind of like, oh, this is like take in or John Wick are kind of in that vein, but I trust the people making this thing.
Greg: And so David Leach kind of being there as a producer in 87, 11, being there with the fight choreography, I think this is a great movie. It will surprise no one that I feel like this movie was a little bit more gross than I wanted it to be. You know, as far as, like some of the, like the true rated-r violence in it.
Greg: And so we’ll be talking a little bit about that, but it gets a pass for me. Like, I’m so glad I saw this movie and I really, really this is I mean, just everything. We could be asking for it. Super talented people deciding to make a great, bad movie.
Joe: Yeah, exactly. And it’s a like, I love the fact it’s a tight hour and a half. There is not one scene in this movie that I felt dragged on or that I wanted to change, or there’s one at the end. Yeah, it slides a little into crazy over the top. Yeah. Three men with machine guns shooting just an army of bad guys that are just like being blown up and shot in every possible way.
Joe: I’ve added a new trope in there montage of getting ready, where you’re setting traps around a house or at this place as workplace.
Greg: So it’s so over the top.
Joe: So over the top. Like to me, it was like it was building up to something and then it it goes a little too far.
Greg: Yes.
Joe: That’s how I feel like the last scene. But that totally gets a pass for me. I was like, okay, so this is what we’re doing. All right, fine. And I agree with everything that you said. Great acting in this. Bob Odenkirk as the hero is so perfect. He brings, I mean, and I know him from Mr. Show with Bob and Dave, but that’s where I first got to know him on that sketch comedy show.
Joe: So I know him. Yeah. As a comedic actor. Yeah. From the, you know, late 90s doing just some kind of what I thought was like some of the most outrageous sketch comedy around. So to see him in a dramatic role where he’s playing the Keanu Reeves character, but as a better actor, it resonated differently for me. And, you know, I think we’ve all had those thoughts of like, what would we do if someone broke into our house, you know, and he chooses not to lean into his violence, even though you find out pretty quickly after that that he could have completely destroyed them.
Joe: The things that he notices, you know, that the gun that they were trying to rob him with wasn’t loaded, so he would there was no real danger. But you don’t know that in the first scene. So. Right. It was awesome. There were there are these little moments. I think they do a really good job of sprinkling the breadcrumbs.
Greg:
Joe: His past kind of that sell the good guy in a way that when it builds to the final moments.
Greg: When.
Joe: You kind of find out who he is. Yeah, you’re like, oh.
Greg: I see there’s a lot of mystery in this movie. You don’t really know who is who and what’s going on, but it’s not like tenant, where you’ll never understand what’s going on. By the end of the movie, it’s like, oh, that was a fun thing to kind of unfold. And there were some mysteries kind of in there that were just a nice to have, not a need to have.
Greg: Like, who is this guy that he keeps talking to over the radio, you know? Yeah. So I would say you mentioned the end was a little bit of a leap. I feel like the beginning of this movie is also a bit of a leap. They’re just overly emasculating. Bob Odenkirk for not fighting back at every turn. He’s just this guy who’s given up and they sell that in my mind just a little bit too hard.
Greg: People are just kind of jerks to him. And, I guess I have so much goodwill towards Bob Odenkirk. How can you not like Bob Odenkirk that it seems like everybody in this world should like him as well. So I kind of think they could have it could have had a slower ramp up. It could have had a 15 minute opening rather than a ten minute opening.
Greg: Then this movie would have been 95 minutes. And you know what? I’m going to give like 3 to 5 more minutes. So Connie Nielsen has some scenery to chew on, you know, in her performance. And now we’re at a 100 minute perfect movie in my mind.
Joe: Okay, I’ll allow it. Yeah. The only other piece of this movie that is completely unbelievable is in that first scene, when they break into his house, he is able to pull a golf club out of his bag without making a sound.
Greg: You know, when you keep your golf clubs next to the kitchen? Yeah. Somehow, like propped up. Yeah.
Joe: And if you’ve ever taken a golf club out of a bag, you know that it’s impossible to do that silently. But he does it. So I guess maybe that’s what he learned doing whatever he did for. And they don’t even say that’s the other. I think what I appreciate about this is that that less is more piece about his backstory.
Joe: He has a line somewhere where he’s like all the three letter initial agencies I’ve worked for. Yeah. And like his little M.O. of, like, he’s talking to the bad guys as they’re dying, you know, like, that’s his monologuing that he does.
Greg: Let’s listen to that scene. Since you bring it up.
Clip: It’s a hell. Are you nobody? Short story long, who used to be what they call an auditor for those three letter agencies. Auditor as and, the last guy in the organization wants to see you at their door. I couldn’t arrest anyone, so I used to make sure that there was no one left to her.
Greg: And then he looks down and the bad guy is passed away. As he’s talking to him. Yeah. Which becomes a hilarious repeated trope in this movie where he only really shares who he really is to people who he probably knows are about to pass away. Yeah.
Greg: But he interrupts himself. It looks in. The person he’s talking to is dead. This movie has some hard jokes in it, like there was a real sense of humor to this movie that I really appreciated. You know, Bob Odenkirk worked for SNL. He wrote the Matt Foley I’m in a van down by the River sketch. Write for Chris Farley.
Greg: He knew Chris Farley in Chicago. I think they were part of the improv world there together. So there’s just a lot of moments where, like, they go for the joke and I appreciated it, you know?
Joe: Yeah, it goes with the joke and it lands because in some of these action movies, and I feel like in Point Break, which we watched last week, they telegraphed the joke.
Greg: Yeah.
Joe: And it’s not funny. So it doesn’t land. And these are surprises written by someone with a really deft hand and understanding humor in those really dark moments. You know, another one where he’s talking to a bad guy who’s dying like, yeah, I probably overcorrected when he’s talking about, you know, wanting to like.
Greg: Live a married life, you know?
Joe: And it’s like, that was my favorite line in the whole.
Greg: Movie was like, really.
Joe: Overcorrection. I was like, okay.
Greg: Totally. It’s funny that we’re talking about selling the good guy, and we’re talking about the jokes, because I think the first selling of the good guy is when Bob Odenkirk is walking around town after these people have broken into his house and he hasn’t attacked them back, and so that everybody loses respect for him. And then because he thinks they stole his daughter’s collar for her future kitty.
Greg: His little adorable daughter who’s amazing in this movie, can’t find, you know, something. And he thinks that these people who broke into the house and stole a couple dollars in his watch, they’ve also like, ruined his daughter’s day and that’s, that’s where he draws the line. Yeah.
Joe: That’s not for them.
Greg: Right. So he goes and grabs his dad’s old FBI badge, Christopher Lloyd’s badge. And, starts going around town looking for a tattoo artist that knows where the bad guys tattoo came from. And then he walks into this tattoo place. He’s, like, asking them. I’m going to ask you a question. And there’s this guy in there with, like, a veteran hat on and immediately flags that the FBI badges outdated by about 20 years.
Greg: And then he sees a tattoo of some cards on Bob Odenkirk’s wrist and just immediately kind of freaks out and walks out of the room. So here’s him walking out of the room. Count how many locks are on this door leaves.
Clip: So who are you?
Clip: I’m just a man. Just looking for someone. Yeah, he probably shouldn’t flash chase like that around here, bro, there are three types of people who, as you say, flash cheese. People who don’t know any better, people who are seeking to intimidate. And people like me who wish with every fiber of their being that someone would try to take it from them.
Clip: Thank you for your service, you two old timer.
Greg: This guy walks out.
Greg: Amazing. They’re all just standing there. Just luck after luck after luck after luck.
Joe: And we don’t know as the audience yet what he’s capable of.
Greg: Totally.
Joe: We’re just like, what are you doing? Mild mannered Bob Odenkirk going in there saying, right, with every fiber of your being, I want you to try to take this from me totally.
Greg: It’s totally like, why would you do that? Yeah. And so that’s the first inkling. Well, actually, no, the first inkling is probably when he’s talking to Risa over some ham radio or something. Yeah. Like he has some radio in his office and they start talking and you realize that Bob Odenkirk was a little bit more wise in this home invasion scenario than we thought.
Greg: Let’s listen to the intro with Risa Duane. He’s kind of letting us know that he he is more than we thought he was in this movie.
Clip: Sounded good. How long you been listening? Long enough to know you’re getting mighty good at that shit. Well, you officially date a lot of free time on your hands. No rough life. So tell me about last night. Word travels fast, Look, they know. I know, you know. There were two of them. A man and a woman, late 20s, and say.
Clip: They were scared, desperate. She had a gun. Were gone. I was an old 38 special. Electrical tape on the handle. Joe Smith and Wesson hadn’t been shot in a long while. That was,
Clip: Empty. Seriously? Seriously? Yeah. I know why you didn’t do what you didn’t do. What they gave not just a couple bucks. I know this could have been worse. Yeah. Look, I know what you’re thinking about, and I wish you wasn’t. Don’t do no stupid any.
Greg: So that’s kind of the first moment where we’re kind of like, wait, what? Who is this guy? Yeah. It’s been the movie starts to get good.
Joe: Yeah, because within five minutes of that scene and I think going to the tattoo shop, finding them, finding the couple that broke into his house, they discover they have a baby and they’re broke. And he kind of takes his watch back. They don’t have this daughter’s necklace or a cat collar. And then we got.
Greg: The bus.
Joe: Fight scene. Yeah. Which is.
Greg: Amazing.
Joe: It’s amazing. And this is why you hire 87 to live it? Totally. I feel like I even recognize some of the stunt actors from, like, John Wick and other stuff that they’ve been in there. Yeah. It’s amazing. It is really, really fun to watch that scene. And I think that I when I got to that scene, I don’t think I’d gotten to that scene the other time I’d watched that, and then I was I was like, oh, this is what I’m watching.
Joe: Okay, I’m in.
Greg: So tell us your history with nobody. Had you not seen that this movie until this week?
Joe: Until this week, I think what happened is I put it on.
Greg: Not.
Joe: That long ago.
Greg: Yeah.
Joe: And I think I fell asleep kind of through the beginning parts of it, because there are pieces that were I remembered.
Greg: But.
Joe: Not all the beats within it. So I didn’t remember the conversation and some of the other stuff. I can’t remember the break. Im sure I remember some of the stuff at the office where he’s, you know, working for his father in law and his brother in law’s is just a total idiot to him, and pointed a gun at him and gives him a gun to protect his family.
Joe: And then I may have seen that scene, but it just didn’t resonate the same way it did this time.
Greg: Yeah, it was like.
Joe: I missed all of that. And you need I needed all of that to make that scene work, I think.
Greg: Yeah, the brother in law points a gun at him and he says, safety’s on. And then he looks to guys, oh, hold on. And he puts the safety on that. There’s moments like that in the movie where it’s like, this is a great movie. Like if Bob Odenkirk is around, yeah, there’s going to be moments like that. Probably.
Greg: Yeah. Oh, I heard him say a little while ago that, well, this movie was his idea and he worked with the writer on it. Once they hit page 50, he’s out because he just doesn’t know how to do this. Write in a script because he’s like a, you know, comedy writer. But he was there to work on characters until about page 50.
Greg: And then, you know, John Wick dude needs to be John Wick, dude. And that was that. We’re kind of burying the lead. Is it time to have a conversation that need to be had about this movie?
Joe: Absolutely. Let’s get to it.
Greg: We were just warming up until right now.
Joe: Just warming up. That was just, you know, 25 minutes of fun for you all.
Greg: Absolutely. He says that what he used to be was an auditor. Joe, is this a sneaky, super smart, mundane job movie. Should it have been called the Auditor?
Joe: It totally could have been. And maybe it should have been.
Greg: Because.
Joe: They do say auditor in it enough for me to have it as one of my drinking games.
Greg: Oh wow.
Joe: I definitely think it’s a super smart, mundane job.
Greg: I mean, they were classy enough not to do that, not to call it the auditor, but I feel like if this movie is made even just a couple years later, it is for sure called the utter shock.
Joe: That there’s got to be another movie that’s called that, that maybe they ran into a licensing issue or something around. Yeah, I feel like that’s a better name, if I’m being honest.
Greg: Oh, really? Okay. I think that this one kind of points to how Bob Odenkirk feels about himself. It speaks to his character, which makes nobody a better title.
Joe: Right? All right, I’ll allow it. But either way, it’s definitely I think we could put it in that category for sure.
Greg: Okay, so this is super smart, mundane jobs. Number three I love it. Can we talk about how Bob Odenkirk looks in this movie for a second? Sure. Did you get Chuck Norris vibes from his face in this movie with his like it’s not unshaven. But it’s also not a beard. What do you call that.
Joe: Yeah. It’s like perfect three day stubble or something like that you know.
Greg: Yeah totally.
Joe: You know it’s something that I go for sometimes but then I just don’t shave enough. And so it’s, but then it kind of slides into like are you growing a beard. And I’m like, no.
Greg: Not on purpose.
Joe: Yeah. So I don’t know. It’s. Yeah. But it was, it was definitely it was like perfect action guy stubble.
Greg: Totally. It’s like resting Chuck Norris face. That’s what he has.
Joe: If that doesn’t become a t shirt. With Bob Odenkirk space as right.
Greg: This movie opens up with going through Monday and Tuesday and Wednesday and Thursday really quick very quick editing. And unlike Monday he takes out the garbage or Tuesday he goes for runs or, you know, Wednesday he does pull ups at his bus stops where there’s an ad for his estranged wife, real estate company. He’s doing some pull ups.
Greg: They’re the way we all do it. Bus stops. I read somewhere that they finish this movie and then Covid bumped it back and that bought them some time to just kind of like stew on it. And they re-edited the beginning of the movie to make it work better. And so this whole like insanity of like Monday, Tuesday, Wednesday, Thursday, Friday, Monday and then just kind of keeps week after week after week keeps going by it.
Greg: They’re all the same. And life is boring. That was part of covet I.
Joe: Like it, I really like I mean, the opening of this movie, really. They do such a good job of setting up the character.
Greg: For.
Joe: Who he is now. Yeah. Or you feel really sorry for him. He’s super likable, but I think you said it best, man. He’s emasculated. You know, they break into his house and he could have stopped them. You know, Michael Ironsides. And if you don’t know who that is, he was like the bad guy in every 80s movie ever.
Greg: Total recall. He was in Top Gun.
Joe: Starship Troopers. He’s actually a good guy in that. But. Right. He’s a that guy. Especially from like the 80s and 90s action movie. You need the gruff sergeant. You need the jerk bad guy. He has that to a tee.
Greg: He has 276 credits on IMDb that bonkers. And he has eight upcoming projects. This guy works. But he’s really good in this movie.
Joe: Yeah, he’s really good. And he kind of plays against type.
Greg: Yeah. Totally. Like he’s kind of like a brooding voice in his life. He kind of says I’m rooting for you. Yeah, yeah. He’s really sweet. And he I think he understands that his son is a tool. And his daughter is probably pretty great. Yeah. Connie Nielsen how do you feel about Connie Nielsen in this movie?
Joe: I agree with you. She’s underutilized.
Greg: Yeah she’s quite good.
Joe: It’s one of those movies where it is. It’s Bob Odenkirk’s movie. And because it is a tight hour and a half, they just don’t have time for other characters really to breathe. They get the Russian bad guy who kind of gets the most other airtime in the movie, but everyone else is there really just to support Bob Odenkirk getting through it.
Joe: So I get why I do wish they’d given her a little bit more and even like Christopher Lloyd, a little bit more to do.
Greg: Yeah, yeah.
Joe: But then it’s a different movie and it’s a little longer. And, you know, obviously we’re getting a second one coming out any day now. So you know, as sequels go, they’re supposed to be bigger and better and all of that than the original. So I’m assuming it’ll be longer and have, a little bit more of these characters to them.
Joe: I think what I appreciate about it is it is really tight, but because of that, you lose out on the opportunity to build up other characters and supporting character to give them anything other than kind of what they have right now.
Greg: Yeah, hopefully that they have more to do in the next one. I mean, there’s so much fertile ground that way, you know, when it comes to Christopher Lloyd or is, or Michael Ironside or kind of Nielsen, that’s pretty amazing. Bench there for them to utilize for our next movie. We’ll see how that goes. That’s coming out this week.
Greg: Yeah. The week this episode drops. And that is why we’re doing nobody this week. Yeah, because we’re excited for that next one. I thought it was pretty hilarious when those people were breaking into their house in the beginning. They’re making a lot of noise. And then we find out they haven’t even gotten in the house yet. What were they doing for like the first five minutes of breaking.
Greg: Yeah. I don’t know. They were in the garage I guess just making incredible noises were they. I can’t imagine what they were doing in the garage to make that much noise.
Joe: Yeah, I think they were demonstrating their incompetence at breaking and enter. Yes.
Greg: 100%. That’s absolutely what it was. So Bob Odenkirk and Cunningham Nielsen, when they sleep in their bed, there’s like big pillows in between them to show that they’re estranged, I guess. Yeah. And then they have two kids. They have like a son who’s in what, like high school, early high school, maybe. Yeah. And they have a daughter who’s eight.
Greg: His son loses all respect for him. After the break in maybe he already lost his respect I don’t know. Yeah. And the daughter is adorable. Yeah.
Joe: Pretty much.
Greg: And it seems like they have kind of a cool relationship. After the break in he goes in the basement to sleep down there. And she goes down there to snuggle with him. And they have a pretty cute little scene. Let’s listen to it.
Clip: Hey, dad. Hey, kiddo. He couldn’t sleep. He’s. Yeah. Oh.
Clip: You’re scared. Why would I be? You’re here. Yeah. I’m.
Clip: Dad? Yeah. We need a cat. Yeah? Yeah. Yeah. I’m just thinking the same thing.
Greg: There’s so adorable. That’s pretty awesome. Yeah. And then there’s, like, a moment when they’re leaving the house and she just kind of runs in and gives him a hug before they leave. Like, one extra hug.
Joe: Yeah.
Greg: That’s just totally a thing that little kids in the house do. And I love it. It’s so awesome. And it’s it’s this thing is rooted in, I don’t know, people just writing in what real life is like. I kind of appreciated that. Yeah.
Joe: And we didn’t get and I, I did appreciate this. Also, there’s in most movies like this when there is a father son relationship that’s fractured, there’s a moment at the end where, you know, the son demonstrates, you know, oh, respect back for the father, vice versa.
Greg: Yeah.
Joe: Christopher Nolan does this in, in lots of his movies. But the one I’m thinking of specifically is Dunkirk. There’s a father and son. There’s not even, like, a fractured relationship, but there’s just, like a knowing nod to each other. And I was, like, unnecessarily cinematic, if that makes sense. Like nobody totally that nobody behaves like that in real life.
Joe: But we don’t get that in this one. We don’t get the son realizing that his his dad is a badass. We kind of get that where they’re coming out of the basement and they’re like a thousand dead.
Greg: Bodies and yeah, in the house.
Joe: But there’s not even anything said about that between them.
Greg: Would you have walked your family through that? I don’t think they would have. I think I would have figured out a way to.
Joe: Like, at least cover the bodies or just say, like I move them into the living room and then, like, everyone walk out without seeing them. It’s pretty gruesome. I mean, he does a show covering his daughter’s eyes as they’re coming out, right? But yeah, I don’t think and they all are much more calm than they probably should have been.
Joe: Maybe they were in shock. I mean, this is where they find out because he’s, of course, set up the house. They’re coming back, you know, he sees them pull up, gets them in the basement. Yeah. He locks the door with some special lock that you just assume is like the basement is bullet proof and bomb proof and everything.
Greg: Right? Yeah. There’s like a false panel where the light switches and it opens up some new thing. Yeah, yeah.
Joe: You know, then we have kind of a version of the John Wick house scene that they, you know, attack him in his house, you know, again, why the, neighbors didn’t call the police the minute that there are many, many, many machine guns happening. Don’t worry about it.
Greg: Nothing to see here, nothing to see here. And then he.
Joe: Sets it on fire at the end, after he’s had a chance to monologue with the dying, another dying bad guy. So.
Greg: Yeah. He sets it on fire by putting a certain record on that makes sparks. Yeah. And it’s What a Wonderful World by Louis Armstrong. Yeah.
Joe: Which I did appreciate because that song has been so overused and moved. Yeah.
Greg: So it’s like you’ve just killed ten people. Oh.
Joe: Horrifically. Now we’re going to listen to this song. That’s where he talks about, oh, you know, maybe he overcompensated.
Greg:
Joe: You know, a human body turns into ash at 1500 degrees. Thankfully, I’ve designed this basement to burn at twice that or something.
Greg: Yeah. Like. Yeah.
Joe: Okay.
Greg: Wow, this is Breaking Bad all of a sudden. Yeah. It’s better call Saul.
Joe: Then he steals his neighbor’s car, which I appreciated.
Greg: Yeah. Pretty crazy. He just kind of watches his house burn and drives off. No acknowledgment of the neighbors who are all walking out like what is happening over here. Pretty hilarious. Yeah.
Joe: That’s where to me it starts to get it goes a little action movie trope land. But I get you needed to. But I feel like if they had followed the thread a little bit more of what Bob Odenkirk set up, like you said in the first 50 pages, I think it’s a different movie. Still really great, but maybe a little bit more personal and less ridiculous.
Joe: Explosion. Bad guys flying everywhere. Yeah, kind of ending to it.
Greg: It’s very much like the equalizer at the end, where suddenly Denzel Washington has all these, like, crazy traps and is just killing people in all these inventive ways that I don’t need in my life. But if that made more people see this movie, then I’m for it.
Joe: Yeah, but.
Greg: I wrote down a question for you after watching the bus fight. Okay, this isn’t something I’ve asked you before, but how do you rate that bus fight between 1 and 10?
Joe: It’s probably like a seven or an eight for me.
Greg: Really? Okay, I.
Joe: Really like that because I hadn’t seen a fight on a bus like that before. And as I now know what the character is, you know, this was him looking for a fight, right? So basically what happens is the bad guy is the Russian bad guy is crashed into the bus, and then they get on and then there’s like this cute twentysomething girl, there’s another person reading a book that kind of leaves is really big, and they’re kind of harassing the bus driver, and then he gets their attention by emptying his gun that he’s taken from his dad, the bullets out, and then they start attacking him.
Joe: Yeah, yeah, I liked it. I thought it was really inventive. What about you? How do you where do you put that?
Greg: I was at, like an eight and a half. And then he gets thrown out the window by them and they think the fights over. And then he walks by the bus driver who he has kicked out and closed the door. Right. And she starts trying to talk to him on the outside of the bus and he like says give me just one more minute.
Greg: And he walks back on the bus. And I was like, well we’re at a nine and a half now. Yeah. That’s incredible. This is so awesome. So eight and a half. And then he gets back on nine and a half. Like because they added some character into it you know. Yeah I loved it. I thought it was just incredible.
Greg: Yeah I don’t know if Shanky came out before this. That also had like a really big bus scene. That was incredible. Yeah. But I bet they filmed these two movies at exactly the same time. They couldn’t have known.
Joe: Yeah, I feel like that one had relied more on CGI.
Greg: Hunter.
Joe: Like flying and flipping around, and it was a great scene. I agree that that was a really fun scene. Yeah, yeah, and I think you and I are both suckers for practical effects. Just they’re really doing those stunts. They’re not relying on CGI. I couldn’t really notice a lot of CGI in this, if any, that I had, like hauled out went, oh, I see, I see what they did there.
Joe: Yeah, yeah, I’m sure there is. And like car chase and a few other places, but it was not as egregious as it is in some of the movies we watch.
Greg: You know, what do you think the budget of this movie was?
Joe: Feels low. And I think sometimes the best movies come from low budgets, where they have to, like, work around their constraints. Probably like 75 million.
Greg: This movie was made for $16 million.
Joe: That’s insane.
Greg: $16 million.
Joe: That is unheard of these days.
Greg: Isn’t that amazing? So I think it’s chunky. When they were fighting on the bus, the bus was moving through the city. And this one it’s parked somewhere you know. Yeah. But whatever. Who cares. Who cares.
Joe: Yeah I wasn’t like man I really wish they were driving while this was happening.
Greg: With like Holy cow, this is really.
Joe: Happening.
Greg: So then he goes home and Connie Nielsen sees him and he is in like, in the shadows, and she’s being estranged from him. And then he comes into the light and you can see that he’s had he’s just taken care of some business on a bus. And she starts just intuitively like super gluing his wounds. Yeah. And he says something just like old times, you know.
Greg: Do you remember who we used to be? I do, he’s kind of like trying to reconnect with her and talk about he’s noticed that, like, they’re not connecting the way they used to. And it’s just this really sweet moment. But it’s also kind of like, I really like that they’re not telling us who he used to work for, what she used to be used to.
Greg: They’re just showing us, you know, I really like that about this movie. And we really never entirely find out why he’s so well connected and what it is that she knows about him. And I really like how it stays vague. You know, that’s not and that’s not a budget concern. That’s just a script choice, you know,
Joe: I mean, I’ve said this a lot, but it’s like over explaining time travel and time travel movies.
Greg: You know, you.
Joe: Could have done the whole and I love that. So the good guy scene in John Wick is one of my favorite scenes in any movie ever. Yeah, perfect in that movie. But what they’re trying to do is so referential to it, it would just feel like a rip off almost. And so I feel like with this, the more vague they are, the more I love it.
Greg: Totally agree.
Joe: And they get those tender moments, and I think it helps that both of them are likable, like Bob Odenkirk as a likable character.
Greg: 100%. Yeah.
Joe: And you know that scene that’s like a they’re talking about their marriage after this horrible thing has just happened. It’s really it’s profoundly sweet. Like, you see them, the care that they have for each other.
Greg: Yeah, I completely agree. Speaking of not selling the good guy, they do have an amazing selling the bad guy scene. That could have been eight times longer as far as I’m concerned. Yeah. Risa, we find out his brother, Navy adoptive brother, we don’t know. We see him look at a picture in Christopher Lloyd’s place where he, young Christopher Lloyd, has his arm around two boys and one of them is Bob Odenkirk.
Greg: And we think the other one in retrospect, is is Risa. And after this fight, he gets a text from Risa, who we find out to be Risa. He says, go see the barber. This is very John Wickham. Yeah. He walks into a barber shop and there’s like three guards, like grabbing their guns as he walks in, like, ready.
Greg: And, the barber is getting a shave and Bob Odenkirk is there asking, like, who is this bad guy that these guys work for? Or whatever you. Leon, is that the bad guy’s name?
Joe: I think so, yeah.
Greg: You find out the Russian dude?
Joe: Yeah.
Greg: I don’t know why we get Julian’s name on the screen halfway through the movie. The way we got Monday, Tuesday, Wednesday, Thursday. Yeah, it doesn’t make any sense, but we doesn’t need to know. And the barber, holds up a file, and then we go into a selling the bad guy moment. That’s just unbelievable.
Clip: What can you tell me about Julian Kuznets off.
Clip: Am I really now that predictable from where I sit. Just him. And so everyone is short story long. He’s as bad as they come from, you know, a connected, funded, sociopathic person with resources to make things complicated. Yes, you can understand you boys over younger than me. So he’s a bad guy.
Greg: Just to be clear, you’re a lot like Idris Elba in. How’s the job?
Clip: Who the hell are you? Bad guy.
Greg: Yeah, I love a selling of a bad guy. And his.
Joe: Opening scene. Whoever that actor is. Julian, I think it’s even before they get to this scene, they show how bad he is. But as a beautiful one shot scene, he gets out of his car, walks across the street, doesn’t even look. People just slam on the brakes like, tell me who this character is. You know, people like, he’s not stopping for anybody.
Greg: Yeah.
Joe: Walks into the, you know, the bar that he owns, says hi to people, get the drink, walks on stage, dances and sings karaoke, then gets off the stage and walks over to the rest of the people. It’s such a perfect, beautiful one shot and I am. I realize I’m a total sucker for a one shot. Like I love those moments, even if it wasn’t a one shot.
Joe: Even if they’re trying to make a just. I love that the work that and the care that went into a scene like that. Yeah, the show that this guy is despicable but also weirdly charming. What you kind of have to be to be a sociopathic leader in some way. Sure. I thoroughly enjoyed that scene. And then we learn whatever the word is.
Joe: That is also one of my drinking games for, yeah, the Russian 401 K plan Rob shack. Yeah, this is basically there’s a whole bunch of money that is just everyone has a part of and owns a part of, and he has to guard it, but he doesn’t want to because it’s a burden to be the one in charge of guarding it.
Joe: That’s it’s probably so risky.
Greg: He’s almost out. Yeah. It’s almost about to be done. Yeah.
Joe: His time with it is almost over, right?
Greg: Yeah. What an amazing one shot. That was really good. Yeah. So that guy was Russian and the director of this movie is Russian. I kind of wonder if that was in the script for the bad guys to be Russian. The director is Ilya Schuler. This guy was like, in an indie rock band, and his,
Joe: I hear kids playing Lion King.
Greg: In the background.
Greg:
Joe: That needs to be our new theme song. I guess what I’m thinking.
Greg: Listener. We were doing a rare midday record or, I guess, late afternoon record. It is 530 right now because Joe is traveling in rural Ohio.
Joe: And I heard Greg’s kids doing the Lion King theme behind that, so it was awesome.
Greg: Yeah, my window is slightly open because I have an AC out here in this office, so we’ll just keep it there and I can just be, hilarious background noise the episode. So this director Ilya. Nice shoulder. Just weeks ago, he released a movie called Heads of State. Do you know about heads of states? Know what? If Idris Elba was the prime minister of England?
Greg: And the president of the United States was John Cena.
Joe: I’m in.
Greg: You’re in. Okay.
Joe: I’m in.
Greg: Someone attacks them while they’re on Air Force One and they have to jump out. And they are I think in Ukraine I can’t remember where they land. And then they’re just on the ground trying to figure out who the bad guy is and what’s going on. And it’s like a PG 13 Prime Video, great bad movie. We will totally be getting two heads of state.
Greg: I’ll just tell you that right now.
Joe: I might need to watch this tonight and fast because I’m, I’m it’s like plane meets Air Force one and.
Greg:
Joe: White House down and London is falling all in one by.
Greg: Absolutely. It’s everything you could possibly be looking for. And I mean I’m not going to watch every John Cena movie, but I probably would watch every Idris Elba movie. You know, if it looks even sort of good. And they’re great. So I’ve seen half of it just, you know, here and there like over the weekend. And that is pretty solid.
Greg: Anyway. Anyways, back to nobody. He goes to see the barber in the barber is a guy named Colin Salmon who was really good, and I looked into him. He was considered for the role of James Bond and Casino Royale.
Joe: He looked familiar, like he’s one of those as of that guy face. I’ve seen him at other stuff, but totally.
Greg: He was suggested by Pierce Brosnan to be a candidate for James Bond after Pierce Brosnan, because the two actors appeared in Tomorrow Never Dies, The World Is Not Enough and Die Another Day. So, he was definitely in that world. As I was watching this movie, I was like, I really wish that guy. I mean, obviously I love Daniel Craig and I love those movies, but he was really solid.
Greg: So I’m really hoping The Barber shows up in this next nobody movie. Yeah. And I hope there’s a spinoff called The Barber.
Joe: Done and done.
Greg: Yeah. Yeah, totally.
Joe: But the nobody ever expand.
Greg: I think we could very easily Venn diagram this movie over other universes. It definitely seems like it could be happening in John Wick’s world. Yeah, but there are many other worlds that we might be getting to that later on. So people arrive at his house. There’s that moment when he tells his family to get in the basement and he says, don’t call 911, which is a pretty solid line.
Greg: Yeah, but this is one of my favorite things that happens in movies like this. And we’ve never spoken about it on this show before. It’s where seemingly nothing happens. But our protagonist knows that that is clearly bad. Guy is parking across the street, and my family needs to get in the basement right away. Yeah, this is a thing that happens in great bad movies all the time.
Greg: Yeah. Where I’m sure people were parking out on the street the entire rest of the movie.
Joe: Not like this.
Greg: Not like they were parking. So, sinisterly, is that a word? Yeah. I love it when it’s like, no, it’s just people parking across the street. There’s another movie that is basically. What if nobody was pg13 and a bit more innocent, and it’s called The Family Plan with Marky Mark. Have you ever seen the family plan?
Joe: No, I haven’t.
Greg: It’s, it’s not great, but it might be. It might be great. Bad. Michelle Monaghan is in it. Okay. And she gets more to do in that movie. We understand her interiority more than we do Connie Nielsen. So there’s a chance that it is, you know, in some ways a better movie. But there’s like a scene where he’s in where Marky Mark is in the store with his baby, and there’s another guy just shopping.
Greg: And Marky Mark just immediately knows that this other guy shopping is a bad guy and going to attack him. And it’s just like, I’m sure that’s just a guy, you know? Yeah. So anyways, this is one of my favorite things that happens in movies. And also it’s a thing that tips the hat, like, hey, who are you?
Greg: Greg, sweetheart, did you want this movie to be exactly for you? Yeah. What if people just parking a car meant something sinister?
Joe: Absolutely. That’s awesome. Yeah. You can’t. Yeah. If you’ve ever sat in your home and seen cars pull up, all you can see are headlights. But he knows these headlights are the headlights of of the bad guys coming.
Greg: So those are regular people. Headlights?
Joe: No.
Greg: Oh my gosh, it’s so funny. So he takes care of business. He gets his family out of the house. He covers his daughter’s eyes, which was very sweet. I think maybe his son respects him now. We have no idea. We never find out. Yeah. Oh, they hop in a car and as they’re driving off however those streets, Joe.
Greg: So west, so unnecessarily.
Joe: There had been a thunderstorm on a thunderstorm on a thunderstorm.
Greg: Yeah, totally. And you know what’s amazing is this movie, it’s budget with $16 million. I don’t think a water truck went by like in Lethal Weapon. Yeah, to make the lighting look good. This movie was filmed in Winnipeg for a lot of it. And so I think they’re explicable wet streets. Yeah. Standing in for inexplicably wet streets.
Greg: Inexplicably wet streets on a budget. It’s what’s happening in this movie.
Joe: It’s like it’s like the neighbors are out there with their hoses and, like, watering their lawn at the end in the winter. So yeah.
Greg: Totally. And this movie, usually when the streets are wet, they’re lit in some sort of crazy way, and they’re really using that reflection to kind of make the shot incredible. The cinematographer of this movie is not doing that, which kind of made me think, I bet the streets were just wet. They didn’t actually, you know, right. Them with a with a rain truck or anything.
Greg: But we should say that this movie looks like a gazillion dollars because I’m the cinematographer. Yeah, I agree, it is shot incredibly and it is lit like a masterpiece. It is so well done.
Joe: Agreed. Yeah, I’m shocked at the budget. I feel like it was easily 2 to 3 times that, and even that sounds cheap compared to when you hear some of these movies, but they’re being made for now. It’s crazy. So it gives me hope that you can still make an awesome movie, a great action movie or whatever on a budget.
Joe: And if you have great actors and a great story and great people behind the scenes on the action side of it, that 8711 folks, which I really I did was doing research last night. They have a production company now I didn’t realize that they had. So now they’re producing their own movies, and I think nobody was one of the first ones that they did.
Joe: So it’s very cool to see some of the direction that 8711 is taking films. And, I don’t know the six degrees of separation on that for me.
Greg: Yeah, yeah, this movie did kind of have violent Night vibes. Did you ever see that movie Violent Night about Santa being attacked? It’s basically like, what if Home Alone and Die Hard, where the same movie and Santa actually shows up?
Joe: I think they’re doing a second one and it’s 87, 11. I have not seen that movie, but I will now perfect.
Greg: Movie in every way except to gross. Yeah. You know, so that’s, that’s my note. But the cinematographer on this movie was Powell Pecker Zaleski. He’s done a lot of really incredible things, including the first three Ari Aster movies. Speaking of Ari Aster, his new movie is out right now. Addington. But he did hereditary, Midsommar, and Beau is afraid, and this guy was the cinematographer for those three movies, which are kind of like known beautiful movies, right?
Greg: This guy’s the real deal. Yeah, we’ve talked about the fights. We should probably take a second to talk about the second unit director. David Leech wasn’t coming up with the stunts on this, but his team was. And one of his people was the second unit director, Greg Recenter. He, was the second unit director on bullet train.
Greg: Okay. And we’ll get the bullet train. Are you kidding me?
Joe: Sure.
Greg: He was the second unit director on Bad Boys. Ride or Die.
Joe: I seen.
Greg: That. Oh, my gosh, you have no idea how much we will be getting to that movie. It is such a great, bad movie. He did red one last year, okay? And, he did nobody to coming out in the movie Captain America Civil War. He body doubled for Chris Evans, Sebastian Stan, Don Cheadle and Frank Grillo.
Joe: Yeah, everyone who in.
Greg: This movie is that incredible. And then he also did some stunt work in Deadpool two Black Panther, Thor Ragnarok, Jurassic World, The Fate of the furious, The Maze Runner, Dawn of the planet of the apes. So this guy is the real deal as well. So just the caliber of the people working on this thing. Incredible. Let’s talk about Christopher Lloyd.
Greg: Okay? Christopher Lloyd looks like someone who’s living, like, in an old folks home and is immobile and barely even there at the beginning. He has the wildest arc. Yeah. And it seems like his arc is very similar to Bob Odenkirk’s, where he’s kind of given up and then by the end he is ridiculous. Just ridiculous. Like has shotguns and is just going nuts.
Greg: So here is our opening scene intro with Christopher Lloyd.
Clip: You okay?
Clip: I’m okay. You don’t look okay.
Clip: Do you remember who he is to me, Archie? I do.
Greg: It’s pretty amazing. That’s kind of nothing on the page. And they really turn it into something. I’m very forgiving of this movie. I’m sure this is not true, but I really was struck by how much these actors were able to convey without the words.
Joe: Yeah, his arc is kind of wild in this.
Greg:
Joe: So there’s a scene that towards the end. Yeah. And this is where I knew it was my kind of movie.
Greg: Okay. Okay.
Joe: The Russians are coming in. Yeah. Kill him.
Greg: In his where he.
Joe: Works where he lives. Yeah.
Greg: Which I’m assuming that company was called Kill Box Manufacturing.
Joe: Yeah. Basically.
Greg: Yeah. Okay.
Joe: Two guys come in, they see Christopher Lloyd had he’s face the television where he’s been. They into every scene.
Greg: Yeah.
Joe: And you’re thinking we’ve seen this in a million times. They come in. He’s going to say something clever and they’re going to shoot him. That’s basically what I thought.
Greg: Oh yeah.
Joe: So that was where I thought the arc was going with him. We get them trying to shoot him and doing something I haven’t seen doing much in many movies where he sticks his hand in the gun so it can’t shoot him. Yeah. And then he kills both of them with shotguns.
Greg: That he has, like under his Afghan.
Joe: Under his Afghan, then turns the volume up, and then the security guard comes in and says, turn that down. As he like, is like suffocating the other guy as he slowly dies.
Greg: You’re like.
Joe: Oh, okay, this is the kind of movie I’m watching again. If I wasn’t all in before, sure.
Greg: That was the moment.
Joe: Yeah. Now, even more in.
Greg: Yeah. He does the thing where, like, he sticks his finger so the hammer can’t, you know, hit the whatever it is in the gun. Yeah. That’s a solid move. Yeah. You can’t do it too much in movies. But I like it. They did it here.
Joe: And then there’s a funny thing where he, Reza comes with him to the final showdown, plays at his old work, and Bob Odenkirk goes bad. You brought a lot of guns. And he goes, you brought a lot of Russians and like.
Greg: And then Christopher Lloyd kind of gives us his arc of the movie and a little monologue as he’s loading his shotgun. Let’s listen to it.
Clip: You know, I tried the retirement thing, I tried it, I’ll sleep in legs, but first walk around the hall. No lunch by pool, swim. But God damn it, I’d feel if I didn’t miss the Sam.
Greg: And then they go and have, like, 20 minutes of them. Yeah, killing people in just all these different ways that it’s. It’s so ridiculous. Like, how did they. They must have spent 17 weeks creating all the different and really random things that they do. Yeah. It was a lot like, The Equalizer in that way was like, what?
Greg: Come on. Yeah.
Joe: At the end it was like, oh, so 15 million of this budget was for the final action set piece.
Greg: Basically, what happens?
Greg: 100%. Yeah, totally.
Joe: Half of them are. Again, to me, stunt coordinator is going, hey, what if we tried this? We haven’t seen this in a movie before. And they’re like, let’s do it. Because a Claymore or like landmine plays a big part in this movie, and it’s kind of the final death knell of our of the bad guy.
Greg: Yeah, it was awesome.
Joe: I appreciated like some of those moments. But yeah, the last action scene, I it’s like it’s an action scene we’ve seen a million times.
Greg: Yeah, yeah. But because we were seeing the gang finally together, Reza had come out from hiding. Christopher Lloyd is out from the Afghan. Bob Odenkirk is is back in business. Yeah. I mean, it really is a moment where you’re like, well, I could hang out with this crew all the time. This is great. And there’s some really fun things where, like, you know, one guy gets stuck in a thing and then, like thrown through a window into another room and the camera shows that person get thrown through the window.
Greg: And then when they land on the ground, the camera lands on, you know, Christopher Lloyd, who’s right there, who’s about to do something else. There’s really kinetic filmmaking going on right there. Yeah, I feel like Derek Kolstad, who wrote this with you, you also did John Wick. He did die. Hearts did you ever see Kevin.
Joe: Hart’s movie.
Greg: Die Hearts? No, I’ve tried, I haven’t. Yeah, he’s made two of them. He did a couple episodes of Falcon in the Winter soldier. I want to give him a lot of credit in this movie, that there’s a lot of setup and payoff that happens throughout this movie in little ways, in big ways. There’s a lot of, like, little motifs that are set up and paid off all the way throughout this movie.
Greg: More than you would imagine, kind of in a die hard way. You know, where it’s like there’s a theme of Haley Genaro getting the watch from her corporate job, right? And then at the end, the corporate or the Hans Gruber is hanging under the watch. Yeah. And she just has to get rid of that watch so that the bad guy can die and she can be with John McClane again.
Greg: There’s like, all that kind of setup stuff. Yeah, stuff like that is going on in this movie. And I really was surprised by it, to be honest. Yeah.
Joe: There’s some fun stuff in that. And then. Yeah, as you say in the last action sequence, they do a good job of tying like the three characters together. Yeah. And their individual action sequence is all kind of how they tie together. And then they kind of joined and then they split up. It’s really fun. It is fun. Totally.
Joe: I don’t want to I don’t want to undersell the last moments of it. But it for me, it felt out of place in the movie of like a great. Yeah, we’re watching one movie. We get to the end. It’s a great action scene, but it’s a different movie.
Greg: It felt a little bit to me like, you know, they try to make movies for different quadrants of audiences. It felt like the movie that I was invested in was probably kind of wrapping up. And now we were, we were checking a box for a different like person out there, you know, like the people who need this kind of thing in a movie.
Greg: Great. I’m glad that this movie succeeded, because those people, that quadrant was also there for the movie, you know. Well, Joe, it occurs to me that there’s a chance people haven’t seen nobody out there. And so they have no idea what we’re talking about. So let’s pretend like you’re walking down the aisles of blockbuster Video trying to figure out what movie you’re going to rent tonight, and you’re picking up boxes from the shelves and you’re reading the synopsis on the back to see if it’s something that you might be interested.
Greg: That’s right. It’s time for the back of the box.
Joe: It’s the back of the box. Is he really a mild mannered auditor working for his father in law? On the surface, our hero is a boring family man who has lost touch with what makes him happy. But buried deep beneath the surface is a secret, a violent secret, bubbling and boiling and ready to explode. If the wrong thing happens, nobody will be safe and nobody will be the same.
Greg: Wow, that gets pretty existential. Yeah, I love.
Joe: It as my best ones do.
Greg:
Greg: Oh my gosh, that’s great. I feel like that could be also the next one. But you know, we also want to get like the unfiltered Joe Skye Tucker take on this. So I think it’s time to get honest in here. What’s the real back in the box, Joe?
Joe: This movie answers the question, what if John Wick had a family? And the answer is the same he will kill them.
Greg: All.
Joe: Is a fun and taut hour and a half of brutal action. The end dives into over-the-top trope land, but if you are like us, this will be a fun moment, even if it takes you out of the movie for a second. So sit back and relax and enjoy this movie. It’s well worth your time.
Greg: That’s great. Yeah, totally. 100%. You know, there’s, like, digital blood splatter. Yeah. Not my favorite. Yeah. There’s, like crazy violence sometimes. But at the heart of it is like a guy I’m rooting for. And, Reza and Christopher Lloyd just make it so worth it. You know, the family there is amazing. Yeah. So I totally agree. Yeah.
Joe: If you said Bob Odenkirk and, are the sons of Christopher Lloyd, and I said, we’re going to make a movie, I’m watching that every single day of the week.
Greg: Guys. All I see are green lights right now. Go make your movie. Yeah. You only asked for a million. I have 16. Here you go. Yeah. Here’s some gold bars from Bob Odenkirk’s basement. Let’s do this. Very John Wick. Yeah. And by the.
Joe: Way, yes. Yeah. We didn’t even get into that scene. That’s one of my favorite scenes where he buys the business. And then the brother in law’s like going to fight him and he just like punches them once and like helps him sit down. It’s such a perfect moment of.
Greg: I’m like.
Joe: You’re out of your league here son. Sit down there for that.
Greg: Yeah totally. Oh my gosh. Yeah. And earlier in the movie he and Michael Ironside had had a conversation that Bob Odenkirk was going to buy the company and the offer was a little low. That was kind of the setup. And the payoff is he arrives with a bunch of gold bars. Yeah. And, Michael Ironside is just like, you’ve got a deal.
Greg: Yeah, that was a set up and pay off right there. And there’s all kinds of stuff like that where, it just kind of works. Joe, should we get to box office and reviews for the movie? Nobody.
Joe: Let’s do it.
Greg: By the way, a lot of cinematic booms in this movie.
Joe: Oh, I know if you’re looking ahead, how does the title lock into place?
Greg:
Joe: With a cinematic.
Greg: Boom here it is right here. And that’s the noise. Every time they show Monday, Tuesday, Wednesday, Thursday or Friday on the screen. And also randomly the bad guy’s name when that shows up on the screen. The editor got a little bit carried away at that point. He’s like well we got this thing, why don’t we just do another boom?
Greg: Let’s talk about box office reviews. First of all, we talked about the budget of this movie was $16 million in America. It made $27.5 million. Internationally, it made 20 almost $30 million. So worldwide gross of $57 million. Bizarrely, there’s also like DVD and Blu ray information out there for this movie. This is maddening, but we don’t get digital information like when you buy a movie from Apple or Amazon or Google.
Greg: They don’t release that information, which is just maddening. But this movie came out in 2021, and we have it got $3.4 million in DVD sales, which to me says this movie is for old people. Yeah. And then it made $6.1 million in Blu-ray sales in 2021.
Joe: That’s wild.
Greg: It is pretty crazy. So you have to imagine it made more than that in digital movie sales and rentals. Yeah. So I think this movie did pretty well for a $16 million budget. Joe, what do you think the Rotten Tomatoes score from critics is for this movie?
Joe: I vaguely remember when it came out that it was doing better than people thought. So obviously it’s a 70 because that’s our movie.
Greg: Yeah, it feels like a 70.
Joe: But I want to say is it’s like Rotten Tomatoes. Let’s go with an 81.
Greg: Wow. 84 okay. Pretty well liked by critics. Yeah, yeah. And you know we’re seven years into John Wick movies. At this point in 2021 we are 13 or 14 years into a post taken world. So we’ve been like old guy is the greatest at something for a while now.
Joe: Yeah.
Greg: And yet this movie still did really well with the critics I think because of, you know, all the reasons we’ve talked about. Here’s something that was really wondering, though, while we were well, I was watching this movie, how many more of these can we have? When is this type of thing going to play out? And we’ll have to take a break from it for a while because taken was that was 2008, wasn’t it?
Greg: Maybe it was 2009.
Joe: Something like that.
Greg: Yeah.
Joe: I feel like.
Greg: This.
Joe: Trope of the guy who’s best at something.
Greg: Well.
Joe: Yeah, is never going to end right. I’m curious of when we will. What is the next action moment? You know, if you think about Die Hard being.
Greg: That Bourne Identity.
Joe: Yeah. Bourne Identity.
Greg: Right.
Joe: John Wick, what’s the next thing you know? We’re probably due for whatever that next thing is and the next, you know, 3 to 5 years. I don’t know what it is. I mean, I think this story will always be there because we love the like, the best that something special forces soldier who goes on a mission to kill everyone.
Joe: That movie will be made a million has, you know, has already been made a million times to this caliber.
Greg: Yeah, this is not a short list for me.
Joe: Yeah, I don’t know. I feel like we’re probably near the end. Yeah. Until the next thing comes along, because even, like, I know they’re making out of the John Wick and I will watch it gladly. Do we need another one? I would be totally fine if it ended with 4 or 3.
Greg: Even. You went negative. John Wick’s in the world.
Joe: So yeah I don’t know I don’t know I’m curious what do you think the next one will be. Or where are we in the arc of these sorts of movies?
Greg: I think I think it’s getting pretty played out and the best ones can make sequels, but having fresh take ins or John Wick or nobody’s equalizers, you know, I think we’re just about done. I think we’re we’re ready for the next thing, whatever that is.
Joe: They’re going to be ones that come along that break the mold a little bit. But sure, there’s a formulaic ness that happened with them. What started off as, what do they call it, a disruption in like for technology. Becomes status quo.
Greg: We’re looking for the next Uber for action movies.
Joe: Exactly.
Greg: Okay.
Joe: That’s our production company.
Greg: Uber for action movies. Yeah. I love it okay Uber out of nowhere. Yeah.
Joe: For out of nowhere.
Greg: I think this trope is on its way out. And we’ll take a little break from it. And then, you know, like Nicholas Hoult will be like 50 years old and make an amazing old man action movie and, it’ll be back. Yeah, that’s what I predict will happen. What do you think the audience score is on Rotten Tomatoes, the popcorn meter show.
Greg: I should tell you that there’s only 2500 reviews on here, so that means it can either be super low. It could be super high.
Joe: I feel like that’s right around the same.
Greg: You think it’s about 84?
Joe: I’ll go 85.
Greg: 85. It is 94%. Wow. Yeah. People like well these people like this movie. I think that’s a that’s a low amount of people to give a score. So so let’s talk about what some of the critics have said on this movie. Mark Kermode of the podcast Kermode and Mayos Film Review, which is a great British film podcast that I listen to every once in a while, he says.
Greg: Just really entertaining. A list B-movie exploitation trash done really well.
Joe: Yeah, I agree, which.
Greg: Honestly, that could be the name of this show. Yeah. Is B-movie exploitation. Trash doesn’t really well, I watched the whole film with a grin on my face. Clarice? Laura from The Independent UK says thankfully, Odenkirk remains wry and watchable. It’s just enough to make you wish he might cross paths with Mr. Wick in the future.
Joe: Absolutely.
Greg: You know, what I didn’t mention is the music in this movie sounds so much like John Wick. It’s crazy to the point where I was like, this has to be the same person. And it wasn’t. So I think that David Lynch probably, you know, said, can you do a John Wick? Yeah. I was like, yep. Peter Bradshaw from The Guardian says, as far as action stardom goes, Odenkirk might be somebody.
Greg: All right. It’s pretty good. Get. Yeah. Chris Hewitt from Empire magazine, also somebody with a fantastic movie podcast says with Better Call Saul about to come to an end, Odenkirk switches gears with admirable ease, anchoring one of the most purely enjoyable action movies in ages. It’s not quite a case of nobody does it better, but it’ll do until somebody does.
Joe: I agree with that. I feel like what they did in this movie is strip away all the nonsense, and gave us an hour and a half of a near-perfect action movie that’s like, let’s make a movie for Greg and Joe. Yeah. What do you want? Like we wanted a little bit more clowning. Nielsen. And that’s about it.
Greg: Yeah.
Joe: That’s I wanted a little bit more of the husband and wife. But without it it’s still dead on and maybe a little too over-the-top at the end. But we’ve watched enough of these movies to be like all right. And I see what you’re doing and I’m fine with it because yeah you know, you know know your audience.
Greg: Basically I feel like there is really something to a 90 minute movie, where you’re much more forgiving if it doesn’t ask for just a crushing 220, you know? Exactly. Yeah.
Joe: I never felt like it dragged at any point.
Greg: No, no, no, no, totally. Stephen Russell from Time Out says some negative stuff here. He says this film is just angry, a deadening thud of pointless nihilism that actually seems to celebrate saving a marriage through mass murder.
Joe: They missed the point on this.
Greg: Max Weiss from Baltimore magazine says nobody is the ax body spray of movies.
Greg: It’s pseudo cool. It leaves a lingering bad odor, and just because it’ll find an appreciative audience in hormonal teenage boys doesn’t mean it’s actually any good.
Joe: I feel like those boys are the ones that the final scene was made for, you know.
Greg: Totally though.
Joe: I’ll allow.
Greg: It. I want to read two more good reviews though. Peter Travers of ABC news says Bob Odenkirk aces his first role as an action star in this wild, twisty ride. He’s such a canny, captivating actor that even when the plot gets silly, you’re willing to follow him anywhere.
Joe: Absolutely. That’s probably.
Greg: The best.
Joe: Review so far.
Greg: 100%. And then lastly, Mike LaSalle from the San Francisco Chronicle. Like The Foreigner with Jackie Chan and Liam Neeson’s Taken movies, nobody belongs to relatively a new screen genre in which it becomes very, very dangerous to make dad angry, which made me think we probably need to add the foreigner to the list, I think. So I think the foreigners on the list, I don’t think it is.
Greg: Yeah, it’s.
Joe: A movie I’ve almost watched again a million.
Greg: Times, directed by Martin Campbell. Right. Of, Casino Royale.
Joe: You would know better than I on this, but I think so. That’s our right.
Greg: All right. So, listener, don’t worry for a second, I was worried. Don’t worry. We will get to the foreigner, which, by the way, was also a very, successful movie. All right, Joe, you ready to get to some drinking games?
Joe: I am so ready. All right. Again, doesn’t have to be alcohol. Can be coffee. Water? Yep. Juice, soda. Sure. Whatever your poison is, that’s what you drink during this. So, we’ll go through our stock drinking games. Silent helicopter, even low flying plane. You don’t have that in this movie.
Greg: Couldn’t afford it.
Joe: Missed opportunity. Yeah. Probably couldn’t afford.
Greg: Yeah. Absolutely. Yeah.
Joe: Do we have a push in and enhance? I gave this one to you on the one they discover who he is. So there’s a great scene where basically the bad guy yells at some hacker girl who’s working for him to find out who Bob Odenkirk is. She finds out, uses a real printer printed off, and quit as he throws his file after she discovers who he is on the floor and, like, leave.
Joe: So at that, I’ll give you that one. And it’s also a great sell the good guy moment as well. Pretty good. We do not have, when two people share a slow motion look in the middle of chaos, we don’t have an explosion with silent suffering or ringing in the ears. But I gave it to you. When Bob Odenkirk is thrown out of the window of the bus and lands on the ground.
Greg: Yeah.
Joe: It’s good. Kind of a moment where he’s a little bit like that. Opening credits locks into place with a cinematic boom.
Greg: There’s no locking into place. This is in Point Break. Yeah, exploding, but it does make this noise, which is just solid.
Joe: Yeah, they could drink there. Does it? Flash back to dialog two minutes ago at does we get flashbacks of the scene of the home invasion. And really the movie is an entire flashback from the opening scene to the last scene. It’s him being interviewed by the police. So.
Greg: Oh yeah, which.
Joe: Is funny there. And the best way it could end. Basically, they get a phone call. No words are spoken during that. But basically you assume that they’re getting a phone call from someone and some of the three letter initials agency is telling them to let him go because he is Mr. Nobody.
Greg: So super funny. Yeah.
Joe: It’s awesome. It’s the perfect way to end that movie.
Greg: Yep, yep.
Joe: No bad CGI in this that I noticed blood splatter maybe if you want to take at that. But I didn’t count that.
Greg: There’s that. I think it’s more like when he’s close to like, a whole house on fire. I don’t know that he’s really standing there in the whole house is on fire. Yeah. That’s the only time that I was like oh I bet that’s special effects right there.
Joe: Yeah. So you can. Yeah. Dealer’s choice on that one drink if you want to. Don’t have to if you don’t want to. Sure. Right. Bad shots all over this movie especially at the end. Inexplicably wide streets. Absolutely. We also have a give us the room which I was very happy about.
Greg: Amazing.
Joe: When he is sitting down and the bad guy comes and he’s eating in his nightclub. That’s such a great scene because he’s like the bad guy is up on stage again singing. He sees Bob Odenkirk eating in the middle of everyone else, and he comes over and he pulls off and he’s got like, a bomb or a claymore on his on the table.
Joe: It’s so perfect.
Greg: Which was set up for how he was going to take care of that guy later on.
Joe: Yeah, exactly. No, Interpol and no cell phone smash. And those are a stock drinking game, so I toss it to you. Greg, sweetheart, what is your first drinking game for?
Greg: Nobody. Anytime. Bob Odenkirk says something like, it is what it is. Or it was what it was. He says that a few times, which I guess he’s just resigned to how the world is, I don’t know. But anyways, he says that a few times.
Joe: Awesome. I have one in those vein, which is anytime someone says short story long, take a drink.
Greg: Perfect. Okay, that’s a good one. I have any time. There’s an old crooner song playing. There’s a lot of needle drops in this movie.
Joe: Absolutely any time someone is pointing a gun at Bob Odenkirk’s face, take a drink.
Greg: Wow. I have anytime someone controls the music in the movie with something on screen, like dropping a needle on a turntable to start a song or turning off their car to stop it.
Joe: Nice. I love that anytime there is a cinematic boom with big words on a screen, take a drink.
Greg: That has to be water. Oh my gosh, especially.
Joe: At the beginning of this movie.
Greg: Yes, that is untenable any time Bob Odenkirk is emasculated.
Joe: Oh, I love that one. I have anytime there are cold looks of disappointment in the beginning of this movie.
Greg: I can drink.
Joe: Especially when they’re kind of directed at Bob Odenkirk. So that’s basically my version of being emasculated.
Greg: Yeah, yeah. Let’s see any time there’s a close up of a boring computer screen, like a spreadsheet. Awesome.
Joe: Any time Bob Odenkirk is talking to someone who then dies, take a drink.
Greg: I have any time you hear Risen’s voice. Oh, I love that one.
Joe: Any time you think there might be an homage to John Wick, take a drink.
Greg: There might be, Who decides that person on your left?
Joe: Yeah, person on your left. They need to have watched John Wick. There are a few in this. Like the gold bars. There’s a couple of shots from above of the city. Who on there? Moments in there?
Greg: The barber?
Joe: Yeah. The barber.
Greg: Yeah.
Joe: I’m out. I have a couple others. Okay. Basically, any time you hear someone say OB shack or nobody or say the word auditor, take a drink.
Greg: You’re three for three on that one. That’s amazing. All right, Joe, should we get to Joe’s trope lightning round, aka signs? You might be watching a great bad movie.
Joe: Oh, more than anything, let’s do it. So I’ve added a few tropes here. I have a breaking point moment trope. So, in the beginning of this movie, after the home invasion happens, the breaking point for him is when his daughter’s cat collar is missing. So that’s like his breaking point. So that’s one of the tropes the montage of setting up traps for the final showdown.
Joe: And then escaping handcuffs by breaking a finger or dislocating it. That’s another John Wick reference to the first movie. So that’s another trope. We have the best at something. We assume that he is the best auditor. Nobody whatever.
Greg: Horrible accountant.
Joe: Yeah. Horrible accountant, but great auditor, lousy mechanic.
Greg: Yeah.
Joe: Terrible beekeeper.
Greg: But yeah. Oh my gosh, don’t let this guy keep your bees. Pro tip he’s a horrible amateur and.
Joe: It’s the most professional amateur I’ve ever seen.
Greg: So yeah, he’s better full time. You don’t want him as a contractor. Exactly. With Chris Pine. Yeah.
Joe: And chef’s kiss. No action movie trope. So really, only one woman, and this is his wife. We have a duffel bag full of guns. Or really an RV full of guns. If you watch the after credits scene, and then a whole bunch of money that gets burned. And another John Wick reference to the first movie.
Greg: And also fast five. Oh, yeah.
Joe: Amazing recovery time, medical care from a loved one or partner. Checking if a gun is loaded. We have a call trace timer, and the protagonist is captured, but not killed right away because they want him alive. But that does lead to a great escape, which I think is better done in this than in John Wick, where they capture him.
Joe: He wakes up in the car and is able to escape from the car from the trunk by finding, fire extinguisher. Yeah. Everyone has a fire extinguisher in the trunk. Yeah. And using that to great effect.
Greg: Definite shades of the transporter. When he pops open the back seat and fills the car with the fire extinguisher. Yeah. Joe, if you were driving a car and somebody filled it with, you know, a fire extinguisher, smoke, what’s the first thing you do?
Joe: I’m probably going to accelerate and run into a lamp pole or lamp post.
Greg: Can I call you on that? And also raise you one swerving everywhere.
Joe: Oh, yeah. Yeah.
Greg: Yes.
Greg: Nobody pumps the brakes like. Oh, I can’t see. I should probably slow down. It’s I’m going to start swerving and speeding up. Yeah.
Joe: Apparently it’s like mystical, you know, gas that like, you know, puts you in a state of, I don’t know, a hallucinogenic state.
Greg: That we’ve all been there with the fire extinguisher.
Joe: Absolutely. So why that’s our trope. Lightning around.
Greg: Love it. Okay, well, Joe, are you ready to answer some important questions about this movie?
Joe: More than anything.
Greg: Did nobody hold up in 2021?
Joe: Yeah, I think it did.
Greg: I think it did as well. Does it hold up now?
Joe: Yeah, actually it holds up really well.
Greg: I agree, and I think it’s one of the best of these movies.
Joe: I agree.
Greg: Okay Joe, how hard do they sell the good guy in this movie.
Joe: It’s like medium good in this. It’s not classic but they sell them throughout the the beginning of it. And they kind of what I appreciate is it’s a breadcrumb moment with selling of the good guy, not the John Wick classic selling of the good guy, which I love.
Greg: Both. Yeah. He sells himself. A few times we’ve been talking the bad guys here about die. Yeah. How hard do they sell the bad guy in this movie.
Joe: That one. They, they kind of lean in a little bit more. Yeah. Go into the barber.
Greg: I could have used more. Yeah, yeah that scene could have been five more minutes. Agreed. Joe. Why is there romance in this movie?
Joe: It’s a beautiful thing. There really isn’t romance, but there’s rekindling of a long lost love within a marriage. So I’ll allow.
Greg: It. They do eventually take that pillow away from in between them. And he’s like asleep but she looks at him lovingly.
Joe: Yeah. He’s got a great moment at the end when he calls her and leaves a message saying if you ever take me back.
Greg:
Joe: And then the last scene with them is looking at a new house and you know they’re together because doesn’t have a basement is like their last line together. But you assume that they’re going to create to be able to incinerate people to the right degrees to reduce bones to ash.
Greg: So and he talks about how they should all go to Italy before they have to go and escape the bad guys, and then while they’re looking at that house, they say something in Italian to each other like they’ve been there. So that’s sweet. Yeah, I think there’s romance in this movie because I think long term relationships are worth fighting for.
Greg: All right. Nice. So it’s very sweet. Joe, are we bad people? So loving this movie.
Joe: I can’t imagine a world over. Not.
Greg: Okay. You ready for the deep end?
Joe: Yeah. Let’s do it.
Greg: Does nobody deserve a sequel?
Joe: Absolutely. I will watch it 100%. Does it need a sequel? No. I think it’s kind of perfect in a in and of itself.
Greg: Yeah, but.
Joe: Deserve. Sure.
Greg: It’s really tricky. I’m really hesitant about a sequel. I think it deserves one, but I think they’d be better off if they didn’t. Yeah, but also, you know, there’s a pretty talented crew of people. I trust that if they’re doing it, they’ll do it well. Yeah. So we’ll see. Yeah. But I’m nervous. I’m nervous about a sequel because it’s pretty good as it is right now.
Greg: Yeah. Does this movie deserve a prequel?
Joe: I can’t believe I’m going to say this I think it does.
Greg: And then wow what’s the prequel.
Joe: All the shenanigans that Bob Odenkirk gets into before he B settles down. Okay. You could have ten movies that are just Tim being the auditor. Maybe that’s that’s the you know he’s nobody now.
Greg: That’s the.
Joe: Auditor. The auditor is the prequel.
Greg: To no one prequel. That’s solid. Okay. Yeah, I agree with that. I think we should have a prequel with the daughter. I think the daughter is the star of the prequel, and it’s like an adorable kid’s movie about a little girl making her way through life with an estranged mom and a really moody and angry older brother and a checked out dad.
Greg: But you know, it’s really warm. She has a warm relationship with all of them. I don’t know, it’s like my girl. It’s like just a really, you know, sweet movie about a little girl. But I think it’s not a prequel. It’s a side call. It’s like all of this movie is happening while she’s in that story.
Joe: Okay.
Greg: Okay. So I want to see that movie where the little girl is just like killing it in little girl life. You know? And I would love to see either a movie where she’s just having a really simple, innocent, sweet life where troubles are just like the life of a little girl trying to make her way through friends at school or really wanting a cat.
Greg: I’m not sure if she’s going to get one, you know, that kind of stuff. Or it’s a movie where we’re laying the groundwork that she’s going to grow up and like, run a crime ring. And so in her elementary school, she has like an elementary school crime ring, and she grows up to be one of these people. You get to choose which character she grows up to be.
Greg: Okay. All right. She grows up to be Sharon Stone in Total Recall.
Joe: Okay.
Greg: She grows up to be Jennifer Jason Leigh in Single White Female. She grows up to be Meryl Streep in The Devil Wears Prada. She grows up to be Rosamund Pike in Gone Girl, or she grows up to be Margot Robbie in the Harley Quinn movies.
Joe: This took a turn, took a real dark turn here.
Greg: So Total Recall, Single white female, Devil Wears Prada, Gone Girl or Harley Quinn.
Joe: I think I Devil Wears Prada.
Greg: Yeah, totally.
Joe: The thought of that character with the backstory of being able to kill someone pretty frivolously is like the perfect moment for me at the full circle moment. So okay, that’s my choice. Okay. I’ll look very closely by Harley Quinn, because I think that would tie in probably more to horror movies.
Greg: But yeah, no, that’s my favorite too. Devil Wears Prada. Yeah. And also I like that she’s like young Meryl Streep. And she does put in a good performance here. Yeah. Okay, Joe, next important question. Should this movie have been nominated for Best Picture at the Oscars in 2022, the year of the slap?
Joe: Wow, that was the slap.
Greg: That’s crazy. Yeah, you.
Joe: Could have told me that was last year. I would have thought,
Greg: I’m sure I’m okay. Totally fine.
Greg: If that’s the criteria.
Joe: And that’s all we know. What’s going on? Absolutely.
Greg: Yeah. Why not? Yeah. Okay. Well, I feel like I should read you the nominations, but maybe.
Joe: The nominations and.
Greg: Then. Okay, it was ten movies. We got coda, Belfast, don’t look up, drive my car, Dune, King Richard, licorice Pizza, Nightmare Alley, The Power of the dog, and West Side Story.
Joe: I would throw that in there. I mean, it’s got to be better than West Side Story.
Greg: No. What have you seen West Side Story?
Joe: I mean, not this version. I saw the original. Like a long time ago, though.
Greg: Oh my gosh, that West Side Story specifically is amazing. Steven Spielberg just killed it on that. I would go for it. Well, I mean, you can do whatever you want. I don’t know, why would I disagree with you? You can do whatever you want. You’re a grown man. I would I would probably swap out, like, don’t look up.
Joe: Okay, go.
Greg: All right. Joe, how can this movie be fixed? AKA who should be in the remake?
Joe: I don’t know that I could think of anything that would fix it. The only thing I would do is maybe set it in the John Wick reverse.
Greg: Okay, sure.
Joe: I was trying to think of a way to fix the ending, but I couldn’t really come up with a good a good movie or a better one than than what they did.
Greg: So yeah.
Joe: I’m kind of fine with how it ends and with this movie, so I don’t know that I can fix it, but how would you fix it?
Greg: Like I’ve said, I would kind of slow down the beginning. I would make it a bit more naturalistic of how people are kind of coming down on him. I would tone down the grossness in some of the scenes, and I would give Connie Nielsen a little bit more to do, but I mean that if we had a chance to remake it, we could accomplish all of those things, and it could be remade from the perspective of Mr. Potato Head from the Toy Story franchise.
Greg: Okay, yeah, he’s been a little down and out. He’s a little worn down, like his nose is where one of his ears is supposed to be, and his ear is where his nose is supposed to be. He’s all out of sorts. Yeah, but let’s just say one of Andy’s friends comes over and just really sets him off, you know?
Greg: So now he’s just hoping. Hoping that someone will mess with him. And, he sends all the other toys to the basement of Andy’s house and takes care of business.
Joe: Yeah. So Toy Story five is going to be epic.
Greg: Yes, yes. Well, totally. This is one of those.
Joe: Moments that they would put in a movie where I’m imagining, like they don’t show the movie, but they show the audience.
Greg: Like screaming and like.
Joe: Parents grabbing their kids and running out.
Greg: Of that thing. Democrats hundred percent.
Greg: Oh my gosh.
Joe: Okay, now we need to make this movie Toy Story five.
Greg: Okay. It’s happening. Toy story five greenlit. Made by Uber out of nowhere. That’s right. For action movies productions. Joe. Very important question. What album is this.
Joe: So this is as an homage to John Wick.
Greg:
Joe: So I look back at what I picked for John Wick which was Nirvana. Never mind. So what is a great album but is derivative of that album.
Greg: Yeah sure.
Joe: I went with Bush 16 Stone Love It, which is definitely a Nirvana album masquerading as a Bush album masquerading as a grunge album. Yeah, but it’s really good. There are some great songs on there. It is really good. So that’s that was my choice. What is your choice for what album is this?
Greg: All right, so I was going for what’s an album where it’s by an artist that we’ve kind of passed by, you know, music, the music industry has kind of just really, you know, when someone reaches a certain age, we kind of just assume that they don’t have any creative spark left in them. And so we’ve seen people come back and recapture what they had, or it’s more like we realized what they had a lot of times more than they ever lost it.
Greg: But you can think of like Johnny Cash did this. I have shows Willie Nelson’s Teatro now, probably for John Wick. But in 2000 there was a box set of Loretta Lynn’s that came out. It was called The Honky Tonk Girl, the Loretta Lynn Collection. And Jack white got into it. And so he called her up and said, can we record a record together?
Greg: Let’s make a real old school country album together. And so in 2004, Loretta Lynn released a record that was produced and I think largely co-written by Jack white called Van Lear Rose. And it’s incredible. It is so good. And so it’s like full of life because it’s recorded with like a full analog scenario from Jack white using old school mikes and old school instruments.
Greg: So it’s really just Loretta Lynn. And I don’t know if you ever get back to listen to Loretta Lynn stuff, but she is incredible. And so, they made this like raw analog, recorded live mostly in one take album at House of David studio in Nashville using like vintage gear. And she wrote or co-wrote every track. And the song you really just have to listen to is Portland, Oregon.
Greg: If you’ve never heard it. It’s like this, like boozy duet with Jack white. It’s incredible. And so it won two Grammys, Best Country Album and Best Country Collaboration for that song. Portland, Oregon. She was 69 years old when it came out. It is unbelievable. And like rolling Stone, Pitchfork, NPR, they all named it one of the best albums of the 2000.
Joe: That’s awesome.
Greg: So Loretta Lynn’s Van Lear Rose, check out Portland, Oregon. Or you can just listen to our Spotify playlist. Great bad movies music where we at most of these songs, if we remember to.
Joe: When we remember.
Greg: To not win. Yes. All right Joe, it’s all come down to this. It’s time for us to rank this movie. Now we have a scale. It’s great. Bad movies. Good bad movies. Okay. Bad movies, bad bad movies and awful bad movies. How do you rank nobody?
Joe: I was trying to talk myself into a lower rating.
Greg:
Joe: I can’t do it. I’m too in the tank for Bob Odenkirk.
Greg: Amazing. Yeah.
Joe: This is a great bad movie.
Greg: Yep.
Joe: I could be pulled down to good bad movie and in the right circumstances.
Greg: Sure.
Joe: But anything lower than that is a you’re just not paying attention to what makes this podcast a great bad movie podcast. So yeah, it’s a great bad movie. That’s how I really it. Where do you rank this movie?
Greg: You just pulled me up from a good, bad movie to a great bad movie. Sweet. I was right on that line. The thing that made me pull it down a little bit was, some of the short cuts that they do at the beginning, in the end, and then also the violence. Yeah, but great bad movie. Yeah, I would watch it ten out of ten nights.
Joe: Yeah, absolutely. And I think I’m happy that I was able to pull you up because usually I’ll come in, sometimes I’ll have a rating and then by the time we’re done talking about it, I’m like, this is the greatest movie that’s ever been made. So I’m glad I could play that role for you.
Greg: Totally, totally. All right. Wow. Great. Bad movie.
Joe: Yeah. Great. Bad.
Greg: Nobody from 2021. Thanks, everybody. Yeah. Joe, how many degrees of separation do you think it would take for us to get from the movie? Nobody all the way to our podcast, Great Bad Movies.
Joe: It’s a really good question. It was filmed in Ottawa. You said.
Greg: It was.
Joe: Filmed in Canada. Yeah, which is good because Deer Rouge.
Greg:
Joe: Basically it’s how many degrees of separation between our the people that wrote our theme song.
Greg: Oh okay. That’s how you’re getting to it okay.
Joe: I’m getting to it okay. They wrote a theme song for another Canadian produced TV show. Oh was it Private Eyes.
Greg: Yeah, it was called Private Eyes. Sure.
Joe: And that’s as much thought as I put into it. So for.
Greg: Amazing. Absolutely. Four degrees of great bad movies. Let’s do this. Nobody as a movie has an actor named Michael Ironside. Michael Ironside was in a movie called Visiting Hours with William Shatner. William Shatner had multiple appearances on a Canadian TV show called Private Eyes, which had a theme song by a band called Deer Rouge. And Deer Rouge does the theme song for another show called Great Bad Movies.
Greg: That’s incredible.
Joe: A nice nailed it!
Greg: Thank you, Deer Rouge. Thank you, private eyes. Someday we will do an episode by episode recap podcast of that show. Yes.
Joe: But not anytime soon.
Greg: Yeah. All right. Joe. Well, we did it. We nailed.
Joe: It. We have the conversation that that need to be had about nobody home. I don’t think anyone should talk about this movie ever again. Just listen to this podcast.
Greg: What a joy this movie was. Yeah, really just incredible listener. If you’ve enjoyed this podcast, would you do us a favor and go to wherever you’re listening to it and rank and review it? That’s the kind of the single best way that you can help out our podcast. If you are willing to talk to somebody about our podcast, you may have some friend who enjoys great bad movies as well.
Greg: Maybe you guys should start hanging out the way that Joe and I are reconnecting by watching these movies and recording a podcast about it. So tell a friend if you don’t feel like talking to anybody today, just rank us on on your podcast app. You can find us any podcast app you can think of. We’re on there.
Joe: Yeah. Please do. You can find us at Great Bad Movie Show on Instagram at Great Bob movie show at gmail.com. Send us an email like us on Instagram, follow us on Instagram. We do all kinds of cool stuff.
Greg: This is this is for you.
Joe: We do this for you and for us, but for you, but mainly for us, but also mainly for, you know, please, it’ll help us out. And the more people that listen, the bigger this will get. And then pretty soon, great bad movies will take over the world. That’s cool.
Greg: Wow. So it’s a big jump. Yeah. This thing’s going to go all the way to the top. It’s like a conspiracy theory.
Joe: Yeah, exactly. Pretty soon politicians will be coming on. This show will be the New York Rogan. It’ll be everywhere. So look at.
Greg: But in the meantime, if you have a request or a suggestion for a movie we should cover, don’t hesitate to reach out to us at Great Bad movies.com. Yes, please. And as always, we should say spoilers for the movie nobody.
Joe: Yeah, spoilers for nobody. And if you haven’t seen the movie, pause this episode, go watch that movie and then come back and finish this episode.
Greg: Yeah yeah yeah. You. We don’t want to read anything else from here on out.
Joe: Yeah, absolutely.
Greg: Oh my gosh Joe I just look at the time. Listen, this has been great, but, I’ve got to go grab my dad’s coat and his old FBI badge and, go around town and ask some tattoo artists some questions.
Joe: Oh, that’s that’s that’s good. I’ve just been accepted into the Russian mafia. I hear they have a really great retirement plan. I sure hope nothing happens with that.
Greg: I think you’re right. I think you’re totally right. You know what? Why are you doing that? I everyone in my cul de sac. An apology. Because by setting my house on fire, I accidentally set all of their houses on fire as well. So I’ve got some apologies to make.
Joe: Yeah, that that makes sense. Anyway, I’ve got to go anyway. I’ve got to practice my sinister parking skills. So.
Greg: I’ll.
Joe: Be right back.
Greg: Okay. Well, that works for me because I. I should check my calendar to see what day of the week it is, because I’m never sure if it’s my run day or my bus stop pull up day. So I should go check that out.
Joe: Yeah, I thought I should be good. Anyway, I’m. I’m late. I’ve got to start a new job as a security guard at for something called an hub shack. Whatever that is. It should be an easy job, though. I can’t imagine anyone want to set that on fire. Anything.
Greg: You know, nobody does that anymore. Is this fast? Five? Yeah. We’re not going to steal it. Okay, well, that works for me, because I’m. You know what I’m gonna do? I’m just going to go hop on a bus and pray that somebody tries something. Yeah. Oh.
Joe: That’s good. I’ve got to go practice. How to remove a golf club without making a sound. So that’s my next goal.
Greg: Oh, I might do that as well. I’m actually, I think I just heard someone breaking into my house, so I am going to go and lose my son’s respect.
Joe: Okay. Yeah. Yeah, that’s. That sounds good. Apparently I’m related to the riza, and I can only talk to him on the secure landline for 30s. Also, our dad apparently is adept at gunplay and has a shotgun hidden under his blanket. So anyway, lots of family secrets.
Greg: Sounds like he brings the ruckus much like Reza. Yeah.
Joe: Exactly.
Greg: Okay, well, that works for me. I think I’m going to go think about my life and see if I can give up even more that because I actually need to. I just think it’d be hilarious to get my wife to be more estranged.
Joe: Oh, yeah. Yeah, that’s that’s a good idea. Anyway, short story long, I’ve got to go buy a family business. I hope I have enough gold to do this so.
Greg: All right, well, that works for me, so I will see you soon.
Joe: All right. See you soon.