Normal is something we have seen before. The story follows Ulysses, a man simply trying to mind his own business in a town that literally shares his vibe: Normal. However, the peaceful facade of this small town crumbles when Ulysses realizes the entire population isn’t just unfriendly, they are a coordinated, sleeper-cell community of killers. It is a high-stakes siege where the walls aren’t a building, but the city limits themselves.
Cast and Performances
Bob Odenkirk re-teams with writer Derek Kolstad, leaning heavily into that gritty, “OAP John Wick” energy he wears so well. He looks like he’s having the time of his life getting hit by cars and hitting back harder. Surrounding him is a cast of faces you haven’t seen in years or perhaps have never met at all. This “nobodiness” works in the film’s favor; because there are no A-list contracts protecting the supporting cast, you genuinely feel that anyone from the local baker to the mailman could take a grenade launcher to the chest at any moment.
Production
Director Ben Wheatley brings his signature “discomfort” to the lens. The camera work is intentionally off-balance, creating a strange, unsettling atmosphere that ensures you never feel too safe in your seat. The action isn’t the polished, balletic choreography of modern blockbusters; it’s unrefined, gritty, and appropriately messy.
The standout production choice, however, is the audio. Every time the Yakuza roll onto the screen, the soundtrack pivots into aggressive drill music. It’s an immediate “aura boost” that turns their arrival into a genuine event, making the tonal shift as jarring as a punch to the jaw.
Review
Normal is a film of double meanings. While it’s the name of the town, it also describes our hero. Ulysses isn’t a super-soldier; he’s just a “normal” guy forced into an extraordinary level of violence. The film is a fantastic twist on the siege genre, turning an entire municipality into an antagonist. There is something darkly comedic about the fact that everyone from the teenagers to the seniors is a trained killer, which keeps the tone from becoming too bleak.
The kills are creative and absolutely littered with gore, catering perfectly to the “action-dad” demographic. However, the film does suffer slightly from its own DNA. Because it feels so stylistically adjacent to the Nobody franchise, it risks being a bit forgettable once the adrenaline wears off. Nobody is a riotous, bloody good time while the lights are down, even if the plot feels like a well-worn leather jacket.
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