Christopher Lloyd Archives

Review: ‘Nobody 2,’ starring Bob Odenkirk

August 13, 2025

by Carla Hay

Gage Munroe, Paisley Cadorath, Bob Odenkirk, Christopher Lloyd and Connie Nielsen in “Nobody 2” (Photo by Allen Fraser/Universal Pictures)

Directed by Timo Tjahjanto

Culture Representation: Taking place in Michigan and briefly in Ohio and other parts of the United States, the action film “Nobody 2” (a sequel to 2021’s “Nobody”) features a predominantly white cast of characters (with some Latin people, African Americans and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: Undercover assassin Hutch Mansell goes on vacation with his family at a themed water park, where he battles against corrupt cops and a ruthless crime lord.

Culture Audience: “Nobody 2” will appeal mainly to people who are fans of the movie’s headliners, 2021’s “Nobody” and action-packed fight movie that have touches of very broad comedy.

Sharon Stone in “Nobody 2” (Photo by Allen Fraser/Universal Pictures)

“Nobody 2” has violence and characters that are even more cartoonish than 2021’s “Nobody,” an action film about a father who is a secret assassin. There are no real surprises in this lively sequel. “Nobody 2’s” comedy elements make everything more watchable. Because the “Nobody” movies don’t take themselves too seriously and have a mostly appealing main character, viewers should not expect anything more than what these movies are: mayhem-filled movies with over-the-top stunts and a story about a man trying to be a good husband and father amid the chaos.

Directed by Timo Tjahjanto, “Nobody 2” was written by Derek Kolstad and Aaron Rabin. Kolstad wrote “Nobody,” which was directed by Ilya Naishuller. “Nobody 2” takes place mostly in the fictional small town of Plummerville, Michigan. The movie was actually filmed in and near the Canadian city of Winnipeg, Manitoba. Unlike many high-profile action movies that stretch a two-hour run time, “Nobody 2” is briskly and efficiently paced at 89 minutes.

Most of the story in “Nobody 2” takes place at a family-oriented amusement park, so the locations give a surreal campiness to the movie, compared to “Nobody,” which has a much darker tone. As if it isn’t clear enough that “Nobody 2” leans more into parodying family-oriented comedy than the first “Nobody” did, the trailer for “Nobody 2” uses the “National Lampoon’s Vacation” theme song. However, the patriarch in the “Nobody” movies is nothing like Clark Griswold, the patriarch character of the “National Lampoon’s Vacation” movies.

The central character of the “Nobody” movies is seemingly mild-mannered Hutch Mansell (played by Bob Odenkirk), who has settled in to suburban life in Ohio with his wife and two children. Hutch wants to leave behind his past life as an assassin, but he keeps get pulled back into assassin work, for various reasons. Hutch’s wife Becca Mansell (played by Connie Nielsen), who is a real-estate agent, knows about Hutch’s past. Much of the comedy in the “Nobody” movies comes from people not suspecting that Hutch (who looks like a harmless, middle-aged family man) can be such a vicious fighter and killer.

Is it necessary to see “Nobody” before watching “Nobody 2”? No, but “Nobody 2” is more enjoyable if you already know what happened in “Nobody.” That’s because “Nobody 2” has a plot that depends on revealing what happened at the end of “Nobody.” At the end of “Nobody,” Hutch burned $30 million in cash owned by the Russian Mafia. It’s explained near the beginning of “Nobody 2” that Hutch has gone back to being an assassin, in order to pay off this $30 million debt to the Russian Mafia.

“Nobody 2” has an opening scene that’s similar to “Nobody”: Hutch is being questioned by law enforcement officials in an interrogation room. They ask him who he is. And then, the movie quickly cuts to showing the events that led to Hutch being in this interrogation room, before circling back to the interrogation room scene.

In “Nobody 2” (which takes place three years after the events of “Nobody”), Hutch and Becca have been drifting apart because Hutch has been spending more time away from home. Becca knows that Hutch is $30 million in debt to the Russian Mafia, but she has a “don’t ask, don’t tell” attitude about how Hutch has to pay off that debt. When he’s away from home, they text each other as if he has to spend extra hours at an office job.

Hutch gets his assassin assignments from a mysterious character named The Barber (played by Colin Salmon, reprising this same role from “Nobody”), who is emotionally detached but seems to secretly rooting for Hutch to succeed. The biggest detail that’s been revealed about The Barber’s past is that he used to work for the U.S. government. As shown near the beginning of “Nobody 2,” The Barber is somewhat displeased when he finds out that one of Hutch’s assassin jobs almost went off the rails.

A flashback shows what happened: Hutch was in a hotel elevator with four criminals wearing business suits. Hutch tracked down these criminals because he was supposed to steal a computer drive from them before they could hand over the computer drive to someone else who is supposed to meet them at the hotel. Of course, this elevator ride turns into a bloody fight where only Hutch walks out alive. Hutch then had to fight off a gang of Corsican thugs with MP7 guns and then a group of Brazilian criminals with machetes.

Hutch is able to deliver the computer drive to The Barber, who tells Hutch that Hutch will get $800,000 as payment for this job. The Barber says to Hutch that at the rate that Hutch has been going recently with his assassin work, Hutch could have the $30 million debt by the following spring season. However, Hutch is feeling burned out from this line of work and guilty about neglecting his family.

Hutch tells The Barber that he wants a break. The Barber is skeptical that workaholic Hutch can stay away from trouble for very long. The Barber says Hutch can take a break, but The Barber gives this warning to Hutch: “This job is in your nature and nature always wins.”

Meanwhile, at home, Hutch awkwardly tries to reconnect with Becca and their two children: 17-year-old son Brady Mansell (played by Gage Munroe) and 12-year old daughter Sammy Mansell (played by Paisley Cadorath)—but there’s some emotional distance between Hutch and his family because of his long absences. Hutch sees a TV ad for Wild Bill’s Majestic Midway and Waterpark, located in Plummerville. This commercial triggers happy childhood memories of when Hutch’s father would take Hutch and his adopted brother Harry to this park, which is the only place they went on a family vacation.

Hutch decides that Wild Bill’s (which calls itself “the oldest water park in America”) will be the perfect place to take his own family on vacation. The Mansells take a road trip to the water park. Also along for the ride is Hutch’s father David Mansell (played by Christopher Lloyd), a retired FBI agent, who now lives in a home for senior citizens.

Wild Bill’s has an on-site motel that is a tacky dump with outdated decor. Hutch has booked a “honeymoon suite” for himself and Becca. It’s really just a room with cheap-looking tropical island decorations. Becca comments that the room “smells like cigars,” but she quickly gets over it because she’s just happy to be spending family time with Hutch.

There’s only one rule that Becca has for Hutch: no violence on this trip. There wouldn’t be a “Nobody 2” movie if Hutch stuck to this rule. On the day that the Hsells want to go to the water park, they find out that the park is closed “due to an incident,” and they get an admission coupon to make up for the inconvenience.

David is frustrated and leaves the other family members to spend some time at a remote cabin. The character of David is not seen again for long stretches of the film. It’s one of the disappointing aspects of “Nobody 2” that Lloyd (who is well-cast as David) is not in the film as much as some viewers might expect him to be.

Wild Bill’s is owned and operated by Wyatt Martin (played by John Ortiz), who inherited the park from his deceased father “Wild Bill” Martin (played by Rodrigo Beilfuss), who had a larger-than-life personality. Wyatt is a shady businessman who eventually crosses paths with Hutch. Plummerville’s law enforcement is overseen by Sheriff Abel (played by Colin Hanks) of Peary County. Sherrif Abel (whose first name is never revealed in the movie) also has run-ins with Hutch and quickly becomes Hutch’s enemy.

Hutch gets on the radar of law enforcement in Plummerville after and incident that takes place at a local arcade center. Brady and Wyatt’s bullying son Max Martin (played by Lucius Hoyos), who are about the same ages, get into a fight because Max accused Brady of trying to flirt with Max’s girlfriend. Brady threw the first punch because Max threatened Brady.

Max’s arm gets injured in the brawl. The arcade center’s security chief Toby (played by David MacInnis) breaks up the fight and blames Brady. Hutch and Becca, who are nearby but didn’t see how the fight started, are quick to defend Brady. It doesn’t matter to Toby, who order the Mansells to leave.

Sammy wants to get her stuffed animal that was dropped on the floor during the melee, but Toby won’t let her, and he slightly smacks Sammy on the head to get her to leave. Hutch sees this inappropriate touching and becomes silently enraged. And you know what that means: As already revealed in the “Nobody 2” trailer, Hutch goes back inside and raises hell by beating up Toby and other people who get involved in the fight.

This brawl results in Hutch getting arrested. Sheriff Abel interrogates Hutch and quickly figures out that Hutch is no regular tourist and wants to teach Hutch a harsh lesson. Meanwhile, Wyatt wants revenge on Hutch because Max is an aspiring professional baseball player, and Max’s arm injury could ruin Max’s chances of having a baseball career.

Becca is furious with Hutch for breaking her “no violence on vacation” rule. Hutch talks to his brother Harry (played by RZA) on the phone. And that’s how Hutch finds out that Plummerville is a gateway for smuggling contraband (drugs and weapons), and Plummerville’s corrupt leadership is actively involved in many of these criminal activities.

Plummerville’s crooked officials are under the control of a ruthless crime boss named Lendina (played by Sharon Stone), who is described by an unpredictable loose cannon. Lendina, who has slicked-back hair, walks around like a combination of Scarface and a spoiled socialite who likes to carry around a pet dog. Lendina almost always has her French bulldog near her. One of the movie’s flaws is that it doesn’t tell enough about Lendina, although Stone seems to be having devilish fun playing a two-dimensional villain.

The rest of “Nobody 2” goes exactly like you probably think it will. The movie makes great use of music (including Des Rocs’ cover version of Johnny Cash’s “Ring of Fire”) for the most adrenaline-pumping scenes. One of the more amusing fight scenes takes place on a tour boat, where the tour guide (played by Callum Anderson) keeps talking during a bloody brawl, as if he’s unaware of or simply tuning out all the chaos happening on the boat.

Even though “Nobody 2” has a lot of unrealistic fight scenes, what holds this movie together is the believable family dynamics in the movie. Odenkirk and Nielsen give solid performances as spouses whose marriage is put to the test. RZA also has his moments to shine as Harry. Ortiz capably handles his performance as Wyatt, who is more complicated than he first appears to be.

At its core, even with all the bombastic fights, “Nobody 2” is a movie about parenthood—especially relationships between fathers and sons—and the legacies that could be passed down through generations. Monroe, Cadarath and Hoyos are give perfectly fine performances as the movie’s main adolescent characters, who are somewhat generic. But make no mistake: “Nobody 2” is a movie made for adults. The adults—not the kids—have the most fun in the movie, for better or worse.

Universal Pictures will release “Nobody 2” in U.S. cinemas on August 15, 2025. The movie will be released on digital and VOD on Septembe 2, 2025.

Review: ‘Guns & Moses,’ starring Mark Feuerstein, Neal McDonough, Alona Tal, Michael B. Silver, Craig Sheffer, Christopher Lloyd and Dermot Mulroney

July 20, 2025

by Carla Hay

“Guns & Moses”

Directed by Salvador Litvak

Culture Representation: Taking place in California’s High Desert region, the dramatic film “Guns & Moses” features a predominantly white cast of characters (with a few Latin people and African Americans) representing the working-class, middle-class and wealthy.

Culture Clash: After a wealthy land developer is assassinated during a charity benefit event for a synagogue, the synagogue’s rabbi does his own investigation into the murder and finds a tangled web of motives and possible suspects.

Culture Audience: “Guns & Moses” will appeal primarily to people who are fans of the movie’s headliners and twist-filled crime dramas told from the perspectives of unlikely investigators.

Neal McDonough, Mark Feuerstein, Alona Tal, Mercedes Mason and Dermot Mulroney in “Guns & Moses” (Photo courtesy of Concourse Media)

Despite a few stumbles and some corny dialogue, “Guns & Moses” is an absorbing murder mystery with a rabbi becoming an amateur detective in a case involving antisemitism and environmental concerns. The investigation scenes are better than the action scenes. “Guns & Moses” capably handles its storylines and character personalities for the large ensemble cast without gettting too jumbled or messy.

Directed by Salvador Litvak (who co-wrote the “Guns & Moses” screenplay with his wife Nina Litvak), “Guns & Moses” takes place in California’s High Desert region, where the movie was filmed on location. The movie had its premiere at the 2024 Los Angeles Jewish Film Festival. It’s the type of thriller that has a predictable ending, but the “whodunit” crime-solving part of the movie is intriguing.

“Guns & Moses” begins by showing a charity benefit gala for the High Desert Jewish Center, which is trying to raise money to build a synagogue for its members. The High Desert Jewish Center’s place of worship is currently the center’s headquarters, which is located in a storefront building. The synagogue has been a goal for years, but it’s been difficult for the High Desert Jewish Center to raise enough for money for it.

Rabbi Moishe “Mo” Zaltzman (played by Mark Feuerstein), who is 43 years old, is the leader of the High Desert Jewish Center. At this charity gala, which takes place in the evening, the guest of honor is Alan Rosner (played by Dermot Mulroney), a wealthy property developer. Also in attendance is Donovan Kirk (played by Neal McDonough), the mayor of High Desert, who playfully pretends to get into a verbal argument with Alan when they see each other at the ceremony. Alan and Donovan are both charismatic “alpha males” who are very good friends. Mo admires both of them and knows that they could be powerful allies.

Before Alan gives his speech, the audience at the gala is shown a pre-recorded video of Alan’s closest confidants congratulating him on receiving this honor from the High Desert Jewish Center. Appearing in the video are Alan’s business partner Tibor Farkas (played by Craig Sheffer); Alan’s brother Jeff Rosner (played by Michael B. Silver); Jeff’s wife Pauline Rosner (played by Cherie Jimenez); Alan’s wife Liat Rosner (played by Mercedes Mason); and Alan’s two stepchildren who are in their late teens: Devora Rosner (played by Brielle Angelique) and Koby Rosner (played by Massi Pregoni), who are from Liat’s previous marriage.

Liat was a widow when she married Alan, who adopted Devora and Koby after Alan and Liat got married. The only person in the congratulations video who seems like he doesn’t want to be there is Koby, a stoner who’s addicted to vaping. By contrast, Devora is an obedient “daddy’s girl,” who brims with pride and joy when talking about Alan and how she likes helping him with his company’s social media. The teenagers’ biological father (Liat’s first husband) was killed in a terrorist attack. More about Liat’s past is revealed in the movie.

Mo is happily married to his loyal wife Hindy Zaltzman (played by Alona Tal), who is the mother of their five children, ranging from ages about 9 to about 17: son Yossy Zaltzman (played by Joshua Gallup) is the eldest, followed by daughter Esty Zaltzman (played by Mila Brener), son Levy Zaltzman (played by Jarod Bainbridge), daughter Dini Zaltzman (played by Juju Journey Brener) and son Mendy Zaltzman (played by Trey Diaz Murphy). Yossy and Esty are the most eager to help when Mo begins his investigation.

During Alan’s speech at the gala, he announces that he is pledging $2 million as a gift to build the High Desert Jewish Center’s proposed synagogue. As soon as he makes the announcement, tragedy strikes: Alan is gunned down by an unidentified sniper who flees by car. Alan is killed almost instantly.

The two police partners who are at the crime scene to investigate are Detective Wallace (played by Ed Quinn) and Detective Nestor (played by Zach Villa), who believe the High Desert Jewish Center’s security chief Brenda Navarro (played by Gabrielle Ruiz) on who the killer is. Brenda suspects that the killer is a 19-year-old named Clay Gibbons (played by Jackson A. Dunn), who is known to associate with a white supremacist group and who has previously had antisemitic run-ins at the High Desert Jewish Center.

Flashbacks show an incident when Clay stood outside the building and pantomimed shooting a gun at the people who were entering the building. Brenda confronted Clay and ordered him to leave. He was defiant and taunting, to make it clear that he intended to scare people with these gun gestures.

Another flashback, shown a bit later in the movie, reveals that the most recent antisemitic incident with Clay was when he and Mo had a tense conversation when Clay was parked outside the center and was playing music too loud in Clay’s car. Mo politely asked Clay to turn down the music. Clay’s response was to go on a rant saying that Jewish people are perpetrators of white genocide, and the Holocaust was a hoax.

After the murder of Alan, Clay is quickly arrested at his home, even though Clay’s widowed father Owen Gibbons (played by Jake Busey) says that Clay was at home all night with Owen. The police don’t believe this alibi. Clay’s mother died in a car accident when he was 11. The movie also makes a point of showing the cutting scars on Clay’s arm, as an indication that he has a history of self-harming.

Mo doesn’t believe that Clay committed the murder because, as shown in the flashback where Mo confronted Clay, Mo asked Clay to listen to the Holocaust survivor story of an elderly congregant named Sol Fassbinder (played by Christopher Lloyd), whose immediate family was murdered in the Holocaust. Clay seems skeptical of the story but he eats some brownies offered by Mo as a sort of peace offering. Clay wasn’t seen at the High Desert Jewish Center again.

Mo goes to visit Clay in jail and promises to try to help prove Clay is not guilty of the murder. His conversation with Clay is short because Detective Wallace and Detective Nestor suddenly show up and scold Mo for talking to a suspect while being a witness for a possible trial. Mo also gets some backlash and criticism from other people who find out that Mo visited Clay in jail. Most of the people in the community think that Clay is guilty, even though there is no physical evidence tying Clay to the murder.

Mo trusts his instincts and decides to do his own investigation, against the objections of some people, such as Alan’s widow Liat. At the shiva wake for Alan, Mo notices that Liat is being comforted by Sid Borowski (played by Paulo Costanzo), a former professor who had been feuding with Alan. Devora is very upset to see Sid at this wake and says that Alan would never have allowed it.

Mo finds out why there was bad blood between Sid and Alan. This review won’t give away all the details, but it has to do with a lawsuit that Sid filed against Alan, with the lawsuit accusing Alan’s company of being environmentally hazardous and causing the death of birds. In response to the lawsuit, Alan dug up scandalous information from Sid’s past that caused Sid to be fired from his job.

More details also emerge about Alan’s business activities that could be motives for someone wanting him murdered. Mo’s life also gets put in danger, but he won’t stop his investigation. Security chief Brenda insists that Mo get a gun and learn how to use it. Other things happen that convince him even more that that someone who isn’t Clay was responsible for Alan’s murder.

At times, “Guns & Moses” resembles a TV series crime procedural, where Mo gets some answers and evidence a little too easily for someone who’s not a professional investigator. However, there’s some validity in believing that Mo could be better at gaining people’s trust because he’s a rabbi and not a law enforcement official. Mo is a very interesting character and seems to be written as someone who was made to be in a series of murder mystery stories.

“Guns & Moses” has some touches of comic relief, such as when Mo’s eldest son Yossy wants to tag along for something dangerous that Mo wants to do, but Mo doesn’t want Yossy to go with him because he doesn’t think underage Yossy can handle it. Yossy wails, “Did my bar mitzvah mean nothing?” Other lines of dialogue are hokey and might get unintended laughs. For example, during a pivotal scene in the movie, Hindy tells Mo: “May God and your Glock protect you.” (That sentence is also the movie’s slogan.)

Feuerstein makes Mo a believable character, even though some of the situations he’s in don’t look too credible. The cast’s acting performances are solid overall though. Fans of the 2009 to 2016 comedy/drama series “Royal Pains” should be delighted to know that former “Royal Pains” co-stars Feuerstein and Constanzo have an on-screen reunion as Mo and Sid in “Guns & Moses.” This reunion is less than 15 minutes of screen time in “Guns & Moses,” but it’s better than nothing.

If you see “Guns & Moses” in a theater and stay for the end credits, then you’ll see writer/director Salvador Litvak in a short pre-recorded message where he says that he made the film in response to the alarming rise in antisemitism in recent years. He also says in the message that although he doesn’t ever wish for antisemitic hate crimes to happen, he believes that Jewish people need to learn to protect themselves against violent attacks and should be prepared to fight back if necessary. In the message, Salvador Litvak also requests that fans of the movie give positive feedback to other people about “Guns & Moses” so that he can make more similar-themed movies.

“Guns & Moses” comes across as a non-political crime drama and not as pro-gun propaganda for Jewish people. Therefore, this politically-tinged statement from Salvador Litvak is wisely kept at the end of the film because the story is not preachy at all and in fact encourages people not to rush to judgment against those who might be considered “enemies.” Whatever anyone’s political opinions are, “Guns & Moses” should be enjoyed for what it is: a suspenseful mystery thriller that isn’t perfect but it has a memorable lead character who could be in one or more sequels if enough people want it.

Concourse Media released “Guns & Moses” in select U.S. cinemas on July 18, 2025. Fathom Entertainment will re-release “Guns & Moses” in select U.S. cinemas for a limited engagement from September 7 to September 11, 2025.

Review: ‘Camp Hideout,’ starring Corbin Bleu, Ethan Drew, Amanda Leighton and Christopher Lloyd

October 30, 2023

by Carla Hay

“Camp Hideout”

Directed by Sean Olson

Culture Representation: Taking place in Nashville, the comedy film “Camp Hideout” features a predominantly white cast of characters (with a few African Americans) representing the working-class and middle-class.

Culture Clash: A teenage rebel, who’s in the foster care system, escapes from two criminals he’s been working with, by going into hiding in a summer camp for teens.

Culture Audience: “Camp Hideout” will appeal primarily to people who like watching faith-based comedy movies that are derivative and treat audiences like idiots.

Ethan Drew and Jenna Raine Simmons in “Camp Hideout” (Photo courtesy of Roadside Attractions)

“Camp Hideout” is nothing but cringeworthy clichés of summer camp comedies, with some ripoff ideas thrown in from 1990’s “Home Alone.” The jokes and scenarios are staler than camp cookout food that was left to rot in a previous century.

Directed by Sean Olson, “Camp Hideout” has a very weak screenplay written by Kat Olson, C. Neil Davenport and Dave DeBorde. The movie’s simplistic plot is stretched to the breaking point, until it becomes a repetitive loop of predictable nonsense, like tangled threads that just make a mess and take up space. The film’s main characters are an awkward mix of extremes: either “too good to be true” saccharine sweet or “sinners” who need redemption.

The beginning of “Camp Hideout” (which takes place in Nashville, where the movie was filmed) shows troubled foster kid Noah (played by Ethan Drew), who’s 14 years old, getting a lecture from his social worker Selena (played by Amanda Leighton), who is preparing to accompany Noah on a church camping trip for adolescents. The name of the camp destination is Deer Run Camp, where Selena is a camp counselor. Noah has had a history of getting into trouble with the law.

Selena comments to Noah about this camping trip, “This is your last shot. If you fail here, they’ll sent you to [juvenile detention].” It turns out that Noah hasn’t quite left his law-breaking lifestyle behind. A flashback to the recent past shows that Noah was working with two brother thieves named Willis Talari (played by Joshua Childs) and Charlie Talari (played by Josh Inocalla), who recruited Noah to help them rob a wealthy real estate mogul named Brooks Brady.

How did they commit this robbery? Charlie delivered a giant potted plant to Brooks’ office. Noah was hiding inside the pot and was instructed to let Willis and Charlie in the office when no one was looking. However, the robbery got interrupted when Noah was almost caught. A cop chased after Noah on the street, but Noah was able to outrun the cop and get away. Noah saw the bus leaving for the camp and jumped on the bus in the nick of time.

Meanwhile, Willis and Charlie were also able to escape from the botched robbery and are looking for Noah, because he has an item that the brothers desperately want from Noah. (That item is revealed toward the end of the movie.) It should come as no surprise that the Talari brothers find out that Noah has been hiding out at Deer Run Camp.

Deer Run Camp has the usual stereotypes of “kids at camp” movies: There’s the overly perky camper Becky (played by Isabelle Almoyan), who immediately annoys Noah. There’s the socially awkward nerd Oliver (played by Tyler Kowalski), who proudly announces to Noah: “I’m the queen of all the camp rules.” There’s the rich kid bully Trey (played by Luca Alexander), who predictably targets Oliver and newcomer Noah for mean-spirited harassment.

There’s the grouchy authority figure Falco (played by Christopher Lloyd), the owner of Deer Run Camp, who despises children. Falco prefers the company of his German Shepherd named Lazurus, who’s in the movie and has more personality than most of the human characters. There’s the friendly camp counselor Jake (played by Corbin Bleu), who becomes somewhat of an older brother/mentor figure to Noah. There’s the “nice girl” love interest Mallory (played by Jenna Raine Simmons), who says and does all the right things that “good girls” do when they’re supposed to help “bad boys” turn their lives around.

The rest of the children at this camp are not given distinct personalities and are just there as side characters. “Camp Hideout” has a lot of silly slapstick comedy involving food fights and game challenges, with hardly any excitement or originality in these scenes. And when thieving brothers Willis and Charlie inevitably track down Noah at this camp, the movie turns into an unimpressive series of “Home Alone”-style booby traps.

“Camp Hideout” has some poorly written aspects that make no sense. For example, Falco says he doesn’t like technology because his dog Lazurus was once electrocuted during an electrical storm. Does Falco not understand that an electrical storm has to do with nature, not technology? It’s also revealed near the end who Trey’s father is, in a very mushy plot development.

There are absolutely no surprises in “Camp Hideout,” which isn’t necessarily a bad thing if a story has charismatic characters and engaging dialogue. But so much of “Camp Hideout” has uninteresting characters and terribly moronic dialogue, with a lot of bad acting to match. For a movie that has some moralistic preaching about personal excellence, “Camp Hideout” is far from excellent in how it delivers its intended message.

Roadside Attractions released “Camp Hideout” in select U.S. cinemas on September 15, 2023. The movie was released on digital and VOD on October 24, 2023.

Review: ‘Tankhouse,’ starring Tara Holt, Stephen Friedrich, Richard Kind and Christopher Lloyd

May 21, 2022

by Carla Hay

Pictured from left right: Sarah Yarkin (in back) Luke Spencer Roberts, Joe Adler, Nadia Alexander, Tara Holt, Stephen Friedrich, Devere Rogers and Austin Crute in “Tankhouse” (Photo courtesy of Vertical Entertainment)

“Tankhouse”

Directed by Noam Tomaschoff

Culture Representation: Taking place in Fargo, North Dakota, and briefly in New York City, the comedy film “Tankhouse” features a predominantly white cast of characters (with a few African Americans and one Latino) representing the working-class and middle-class.

Culture Clash: After being blacklisted from the New York City theater scene, engaged actor couple Tucker Charlamagne and Sandrene St. Jean go to Fargo, North Dakota, to enter a performing arts contest where the winner will get a residency at the newly restored Fargo Theatre.

Culture Audience: “Tankhouse” will appeal primarily to people who are fans of satirical comedies about theater people, but the movie’s silly tone wears thin very quickly.

Stephen Friedrich and Tara Holt in “Tankhouse” (Photo courtesy of Vertical Entertainment)

The performing arts parody “Tankhouse” isn’t nearly as funny as it thinks it is. The movie’s broadly written characters are hollow. The comedy too often misses the mark. Hint: Shouting witless dialogue doesn’t make it more amusing. And there’s a lot of shouting in this movie, as the cast members were apparently told that their characters have to yell for no good reason for about half of their screen time.

Directed by Noam Tomaschoff (who co-wrote “Tankhouse” with Chelsea Frei), “Tankhouse” is based on a short film of the same name written by Tomaschoff and Frei. Both “Tankhouse” movies take inspiration from the real-life New York City theater experiences of Tomaschoff and Frei, who both took an opportunity to go to a smaller city to stage a production. It’s essentially a similar story for the “Tankhouse” protagonist couple—Tucker Charlamagne (played by Stephen Friedrich) and Sandrene St. Jean (played by Tara Holt)—two down-on-their-luck actors who are engaged to be married and who stage a production in Fargo, North Dakota, after their careers falter in New York City.

In the “Tankhouse” feature film production notes, Frei says that Sandrene and Tucker are “absurd versions” of herself and Tomaschoff. In the case of Tucker, you can also add the description “extremely obnoxious.” That’s because Tucker (who talks the most in this movie) is a rude and pretentious twit who wants to be the “alpha male” of everything, but he ends up making a mess of things, more often than not. Because so much of the “Tankhouse” narrative is given to Tucker, the movie becomes as blustering and buffoonish as Tucker.

“Tankhouse” is also one of those movies that pulls a “bait and switch” on audiences, by giving well-known actors top billing, but those actors aren’t in the movie for very long. Fans of actor Christopher Lloyd (who’s best known for his roles in the “Back to the Future” movies and the sitcom “Taxi”) will be disappointed to find out that his total screen time in “Tankhouse” is less than 10 minutes, with all of his scenes happening in the first third of the movie. Notable character actor Richard Kind (best known for his roles in the TV comedy series “Mad About You” and “Spin City”) also shares top billing for “Tankhouse,” but his screen time is limited to less than 10 minutes too.

The “Tankhouse” movie poster also shows Kind, Holt, Friedrich and Lloyd all peeking out together from a stage curtain. It’s a misleading image, because it suggests that all four of them are equal co-stars in “Tankhouse.” The reality is that Lloyd and Kind barely have supporting roles in the movie, and their roles are basically just playing cranky know-it-alls, which is the type of character they’ve played many times already in movies and TV. Can you say “typecasting”?

“Tankhouse” has some whimsical-looking animation for some flashback scenes, including an early scene in the movie when narrator Tucker explains how he met and fell in love with Sandrene. (Her real last name is Rothstein. St. Jean is her stage surname.) Tucker says that shortly after getting his bachelor of fine arts degree at an unnamed university, he was directing an off-off-Broadway movement piece in New York City when Sandrene walked into the show.

Sandrene was doing research for a cop TV series called “Rookie Badge” that she was about to co-star in, but her role ended up being drastically reduced. Sandrene and Tucker began dating and have been a couple for an unspecified period of time. Tucker is the type of actor who looks down on TV work. He believes that an actor’s true merit and talent can be found doing work on stage. Tucker’s snobbery toward television is something to keep in mind during a plot development later in “Tankhouse.”

Now in their 30s, Sandrene and Tucker are engaged to be married. And they’re still struggling actors in New York City. However, a possible bright spot in their careers is that Tucker and Sandrene have been put in charge of the Artist Atelier Acting Studio, an avant-garde performing arts group founded by Buford Slezinger (played by Lloyd), who has been Tucker’s mentor. Buford stepped down as the leader of the Artist Atelier Acting Studio because his chronic battle with gout has resulted in him using a wheelchair.

It’s implied that Buford is an “old school” sexist, because one of the first things that he’s shown doing is barking out his “rules” for success to the small group of people in this theater troupe: “I have two notes: (1) A worthy actress must always carry a fan; (2) If you want to make it in this business, you’ve got to immediately lose 10 pounds.”

Buford likes to think that he’s a highly respected guru of the New York theater scene, but he doesn’t have a large following. The Artist Atelier Acting Studio has a very small number of actors: only seven, including Tucker and Sandrene. And this small theater group often gets an even smaller audience for performances. Even though Buford has stepped down from his leadership position for the Artist Atelier Acting Studio, Buford stays involved in the group by being a consultant/advisor.

Tucker likes to talk in flowery speech to make it sound like he’s a theater-trained actor who’s always the smartest actor in the room. However, his social skills are horrible, since Tucker frequently loses his temper and berates the people around him. Sandrene is usually spared Tucker’s wrath because she passively goes along with almost everything he wants to do.

Adding to Tucker’s pompous and ridiculous persona, he styles his hair and wears clothes like he’s a trying to be a combination of a Brooklyn hipster and “Pirates of the Caribbean” character Captain Jack Sparrow. For example, Tucker is the type of man who will wear flowing scarves with a black leather jacket. And his fashion choices for his theater troupe are questionable at best, since he makes the troupe members all wear unitards or onesies in their performances.

It’s at one of these performances that leads to the downfall of Tucker and Sandrene in the New York City theater scene. The Artist Atelier Acting Studio troupe is doing a rooftop performance in the Bronx, with only six people watching the show. The performance involves spontaneous interaction with the audience members.

One of the audience members is a wheelchair-using elderly woman (played by Bunny Levine), who ends up having a heart attack during the vigorous audience interaction part of the show. As a result of the heart attack, she dies during this performance. And there happens to be a theater critic in the audience named Jax Wynn (played by Rebecca Sohn), who (not surprisingly) gives the show a very negative review.

The woman who died during the show wasn’t just any audience member. Her name was Doris Feinstein. She was the “nana” (grandmother) of Artist Atelier Acting Studio member Asher (played by Carlos R. Chavez), and she was the Artist Atelier Acting Studio’s only financial backer. With their principal benefactor now deceased, the group has an emergency meeting with Buford observing.

Sandrene expresses her condolences to Asher about his grandmother’s death, but insensitive Tucker exclaims about Doris’ last moments: “Doris lived as she never lived before! Nana’s death: It’s the circle of life!” And this callous comment is not the only thing that causes alienation. The rest of the group members express their anger at Tucker and Sandrene for the couple making the group members do extreme performance tactics, such as having unsimulated sex and using real guns during a show.

Tucker and Sandrene are informed that the rest of the group has voted to oust Tucker and Sandrene as leaders of the Artist Atelier Acting Studio. Buford agrees that the majority of the group should decide this matter. And so, Tucker and Sandrene no longer have a theater group. When they try to get work elsewhere, they find out that they’ve been blacklisted because of the death that happened during that rooftop performance.

With their money running out and their rent due, Tucker and Sandrene are visited by Sandrene’s parents Deirdra (played by Joey Lauren Adams) and Bob (played by Andy Buckley), who still live in Sandrene’s hometown of Fargo. Tucker and Sandrene tell her parents that they have a great idea to start a theater troupe, but they need Deirdra and Bob to invest some money in it. Deirdra and Bob have been helping Sandrene financially, but this time, they’ve had enough of financially supporting her, so they say no to this pitch.

However, Deirdra tells Tucker and Sandrene that the Fargo Theatre has been recently refurbished and restored. And the city of Fargo is having a performing arts contest where the winner will get a residency at the Fargo Theatre. Theater snob Tucker is dead-set against the idea, because he thinks going to a place like Fargo is far beneath his talent. Sandrene is more open to the idea, especially since her parents offered their ranch house to Sandrene and Tucker to stay rent-free in Fargo, while Deirdra and Bob go on a safari in Tanzania.

Tucker asks Buford for his advice in this matter. To Tucker’s surprise and dismay, Buford suggests that Tucker and Sandrene go to Fargo for this opportunity. Buford tells Tucker that Tucker and Sandrene need to expand their actor experiences outside of New York City and that they can learn from these experiences. After some unsuccessful attempts to get enough cash to pay their rent, Tucker reluctantly changes his mind and goes to Fargo with Sandrene so that they can enter the contest.

Before going to Fargo, Sandrene was selling some of her clothes at a vintage store when she encountered a friend named Brian (played by “Tankhouse” director Tomaschoff), whom she hadn’t seen in a long time. In this scene, Sandrene and Brian catch up on what’s been going on in their lives, but Sandrene doesn’t tell him about her recent career problems. Brian tells Sandrene that he’s now a talent coordinator at a big agency called United Talent International.

Brian offers to help find actor work for Sandrene, who is thrilled. But the timing couldn’t be worse, because she will soon be going to Fargo, for who knows how long. Still, she’s open to opportunities where she can audition with video recordings. Sandrene doesn’t tell Tucker about it though, because she knows that this agency is most likely to find her a job in TV or in movies, and Tucker disapproves of any actor work that isn’t on stage.

Tucker also has a very jealous side to him. It comes out when Tucker and Sandrene go to Fargo, and they encounter Sandrene’s ex-boyfriend from high school. His name is Hank (played by Alex Esola), and he seems to still be in awe of Sandrene. At an Open Mic night at a local bar, Tucker becomes even more irritated when Hank invites Sandrene to sing with Hank during an acoustic guitar performance. She enthusiastically accepts the offer, and Tucker watches their duet while seething with annoyance.

Somehow, a bar fight ensues that lands Tucker and Sandrene in jail, where they meet an eccentric, wannabe actor named Uther (played by Devere Rogers), who always wears sunglasses because he claims to be legally blind. After getting out on bail, Tucker and Sandrene decide they’re going to form a theater group to enter the contest. Their biggest competition is a theater group named Red River Players, formed by Morten Mortensen (played by Kind), who used to be Sandrene’s drama teacher in high school.

Tucker and Sandrene then assemble a theater group that consists of Uther and five young bar patrons who saw Sandrene perform with Hank. These five other Fargo misfits are mild-mannered tech nerd Nina (played by Sarah Yarkin); Viking-obsessed Scandinavian immigrant Yorick (played by Joe Adler); militant feminist Leah (played by Nadia Alexander); and semi-closeted gay couple Jack (played by Austin Crute) and Brady (played by Luke Spencer Roberts), who have a “coming out” scene that is awkward at best. The group’s rehearsal space is a place called Tankhouse, a warehouse-styled building that Yorick has turned into a makeshift moonshine distillery. The expected hijinks ensue in a movie where the characters want to win a contest, but these shenanigans are a lot duller than they should be.

As the optimistic but often-flaky actress Sandrene, Holt gives the best performance out of all the “Tankhouse” cast members, because she comes closest to not letting the character become a caricature. Tucker is just a train wreck abomination for most of the movie, and Friedkin seems to be doing the best he can with portraying an insufferable jerk. Any transformations that Tucker might experience to improve his personality are very abrupt and crammed in as an afterthought to make him look redeemable. However, all of the characters in “Tankhouse” ultimately are very shallow and written as “types” instead of fully formed personalities.

“Tankhouse” isn’t a completely horrible movie. There are sporadic moments that should bring some laughs, such as a “musical theater” verbal battle (similar to a rap battle), with Sandrene and Tucker versus Morten in performing “The Pirates of Penzance” song “I Am the Very Model of a Modern Major-General.” Tucker the lunkhead also has some moments that should make viewers laugh, such as his habit of unwittingly mispronouncing words. His bungled linguistics are supposed to be ironic, considering that Tucker wants to have an image of being a highbrow actor with a strong command of the English language.

But these occasionally comical moments in “Tankhouse” are overshadowed by all the moronic posturing, dimwitted character scheming and the aforementioned unnecessary shouting of mediocre lines that pollute “Tankhouse.” The movie’s musical score—written by Craig McConnell and clearly inspired by 1980s sitcom music—alternates between sometimes sounding appropriate for the scenes, and other times just being downright aggravating. The middle section of the movie drags monotonously, even when “Tankhouse” attempts to have a high-energy, slapstick tone throughout the movie.

Physical comedy works best if the dialogue and characters are interesting too. Unfortunately, “Tankhouse” falls short when it comes to having dialogue and characters that are truly engaging. Watching “Tankhouse” is like being stuck in a room with people manically telling mostly bad jokes for about 90 minutes, and the people telling the jokes mistakenly think that they’re hilarious. The “Tankhouse” filmmakers also do not present the story in a consistent way, because “Tankhouse” tries and fails be both a lighthearted comedy and a dark farce. And some of the “gags” just don’t work and add nothing to the movie, such as a joke about Sandrene’s father Bob pressuring vegan Tucker to eat some bison beef jerky.

Supporting characters such as Fargo theater actress Mackenzie Billingham (played by Rachel Matthews) and Jack’s police captain mother Pauline Mikkelsen (played by Carolyn Michelle Smith) are very underwritten and are only used as plot devices to drop some surprises on the Tankhouse group. Although the ending of “Tankhouse” does not take a completely predictable route, it’s still too little, too late. “Tankhouse” might be trying to get the type of cult-audience status of director Christopher Guest’s classic 1996 community theater mockumentary “Waiting for Guffman,” but “Tankhouse” lacks the wit and the charm to gain a notable cult following.

Vertical Entertainment released “Tankhouse” in select U.S. cinemas, on digital and VOD on May 13, 2022.

Review: ‘The Tender Bar,’ starring Ben Affleck, Tye Sheridan, Christopher Lloyd and Lily Rabe

December 21, 2021

by Carla Hay

“The Tender Bar”

Directed by George Clooney

Culture Representation: Taking place from 1972 to the mid-1980s, in Manhasset, New York; New Haven, Connecticut; and New York City, the dramatic film “The Tender Bar” features a predominantly white cast of characters (with a few African Americans and Asians) representing the working-class and middle-class.

Culture Clash: Based on true events, a boy raised by his single mother in a working-class household is influenced by her brother to take risks in life, as the boy grows up and goes on to attend Yale University and work as a journalist for The New York Times.

Culture Audience: “The Tender Bar” will appeal primarily to people who are fans of star Ben Affleck, director George Clooney (who does not appear in the movie) and predictable coming-of-age stories.

Lily Rabe and Daniel Ranieri in “The Tender Bar” (Photo by Claire Folger/Amazon Content Services)

Even though Ben Affleck gets top billing in the dramatic film “The Tender Bar,” he’s not in the movie as much the “The Tender Bar” trailers and other marketing materials would leave audiences to believe. And the movie isn’t as compelling as it first seems. Although the acting in “The Tender Bar” is very good, ultimately the direction by George Clooney and screenwriting by William Monaghan are underwhelming, considering that Clooney and Monaghan are both Oscar-winning filmmakers. There’s a very “been there, done that” tone to this coming-of-age story that retreads a lot of familiar territory about young men who are aspiring writers.

“The Tender Bar” is based on J.R. Moehringer’s 2005 memoir of the same name. It’s yet another story about someone from suburban, working-class roots who dreams of moving to a big city to achieve fame and possibly fortune in a chosen profession. In a movie like this, the eager young person predictably has a mentor who is a tough taskmaster or a mentor who is a rule-breaking free spirit. The mentor in the “The Tender Bar” is the latter stereotype.

A major problem with the movie version of “The Tender Bar” is that there are big gaps in the life that is presented of the movie’s protagonist, whose name is J.R. McGuire. A running “joke” in the movie is that J.R. keeps having to answer this question: “What does ‘J.R.’ stand for?” It’s a question he can’t really answer because, as far as he knows, J.R. is his first name on his birth certificate. In the movie, J.R. is depicted as two very different personalities (as a child and as a young adult) that are such a contrast to each other, it throws the movie off-balance, and the movie never really recovers from it.

In the first third of the movie, it’s 1972, and J.R. is a 9-year-old boy (played by Daniel Ranieri), who has moved with his single mother (played by Lily Rabe) back into her parents’ cramped house in Manhasset, New York. J.R.’s mother is having financial problems and can’t afford to live anywhere else. J.R.’s mother is embarrassed that she’s had to move back in with her parents (played by Christopher Lloyd and Sondra James), who all do not have names in the movie.

J.R.’s father abandoned J.R.’s mother and J.R. when J.R. was too young to remember him. This deadbeat dad is a radio DJ named Johnny Michaels (played by Max Martini), who has the on-air nickname The Voice. Even though Johnny still lives in the area, he hasn’t been in J.R.’s life, and J.R.’s mother wants to keep it that way. However, J.R. still ardently listens to his father on the radio, which is J.R.’s way of trying to get to know his father. In the movie, J.R.’s childhood is depicted from when he was 9 to about 11 years old.

J.R. is a bubbly and inquisitive child who loves to read. From a child’s perspective, he doesn’t see the move to his grandparents’ home as depressing. Just the opposite: J.R. meets a lot of relatives (aunts, uncles and cousins), and he’s happy to feel like he’s part of this big family. An unseen, middle-aged adult J.R. (voiced by Ron Livingston) says in hindsight voiceover narration how he felt being around so many family members: “I loved it.”

J.R.’s mother, who obviously wanted to move away from her family, isn’t happy about this change in her living situation. She thinks of herself as a “failure” for having to move back in with her parents. J.R.’s mother tries to hide her sadness from J.R, but he’s too smart not to notice.

There are underlying reasons why she was so reluctant to move back in with her parents, but they are only alluded to in the movie. She hints at those reasons when she tells J.R. about her curmudgeonly father: “Grandpa resents taking care of the family.” As for J.R.’s father, she comments: “Your father has never taken care of anyone at all.”

There are a few tender family moments as J.R.’s mother and her father take some steps in mending their fractured relationship. J.R. and his grandfather also have some moments together where they strengthen their family bond. However, the movie wants to focus on another adult member of the family to be the main catalyst for what happens to J.R.

One of the family members J.R. meets during this stressful time in his mother’s life is her older brother Charlie (played by Affleck), a bachelor who owns a local pub called Dickens. Charlie is not very educated, but he knows a lot about hard knocks in life, and he ends up being J.R.’s mentor/confidant. As an adult J.R. says in a narration voiceover: “When you’re 11 years old, you want [someone like] an Uncle Charlie.”

Meanwhile, J.R.’s father Johnny tries to get to know J.R. by promising to take him to a baseball game. But those plans go awry when J.R.’s mother has Johnny arrested for non-payment of child support while Johnny is on the air at his radio job. After getting out on bail, Johnny flees the state and threatens to kill J.R.’s mother during a menacing phone call. It’s the first sign that Johnny has a very mean streak and a violent mentality.

During this turmoil, Charlie becomes closer to J.R. and becomes almost like a father figure to him. The name of the Dickens bar is inspired by author Charles Dickens, so the bar is decorated with books on shelves, just like a library. Even though he’s underage, J.R. is allowed inside the bar. He’s so fascinated with the books, J.R. asks Charlie if he can read them. Charlie says yes. And an adult J.R. says in a narrator voiceover, “In that moment, I wanted to be a writer.”

J.R.’s mother would prefer that J.R. become a lawyer. She also drills into him that she really wants J.R. to graduate from Yale University or Harvard University. The family can’t afford to pay for tuition to an elite university, so J.R. hopes to get an academic scholarship. “The Tender Bar” doesn’t bother to show J.R. doing a lot of studying because the point of the movie is that J.R. got his real childhood education about life from his uncle Charlie.

“The Tender Bar” has a meandering quality to it where nothing particularly interesting happens during Charlie’s “mentorship” of J.R. As a child, J.R. tags along with hard-drinking Charlie and some of his party pals, who have nicknames like Bobo (played by Michael Braun) and Chief (played by Max Casella), where the adults get up to mostly harmless drunken mischief. Charlie also teaches J.R. how to drive long before J.R. is legally able to do so.

Charlie, who’s also a bartender at Dickens, lets J.R. watch Charlie do his job, where J.R. observes how adults act in a bar. Charlie doesn’t treat J.R. like a silly kid who’s a nuisance but as a person who needs guidance on some of life’s realities. At one point, Johnny comes back into the picture, and he has a violent confrontation with Charlie.

The rest of the movie then abruptly switches to J.R.’s life when he was in his late teens and early 20s. It’s here where “The Tender Bar” really starts to drag. Gone is the cheerful tyke who radiated positive energy and openness. The young adult J.R. (played by Tye Sheridan) is mopey, angsty, and has lost a lot of his charming curiosity about life.

This big change in J.R.’s personality is never explained. It’s more than just the normal coming-of-age growing pains. A lot of it has to do with the casting of Sheridan as the young adult J.R., because Sheridan tends to play brooding characters. That’s not to say that J.R. should be an eternally upbeat character, but the zest for life that he had as a child seems to have dwindled by the time the movie gets to J.R.’s life in his late teens and early 20s.

J.R. is only sure about one thing in his life: He wants to be a writer. Apparently, he thinks the only way to be a good writer is to be moody and miserable. It’s not really spoiler information to reveal that J.R. gets into Yale University, because about one-third of the movie (in the middle of the film) is about his time at Yale, where he ends up graduating in 1986. During his freshman year at Yale, J.R. has two roommates—Wesley (played by Rhenzy Feliz) and Jimmy (played by Ivan Leung)—who are bland characters that don’t add much to the story.

J.R. becomes immediately smitten with another Yale student named Sydney Lawson (played by Briana Middleton), who plays mind games with him during their entire on-again/off-again relationship. J.R. falls in love with Sydney, who treats J.R. as a “side piece,” because she always has a more serious, committed relationship with another boyfriend the entire time that she and J.R. are seeing each other. The movie wastes a lot of time on J.R. and Sydney’s topsy-turvy relationship, which ends up exactly how you think it’s going to end up.

There’s an intentionally awkward sequence where Sydney invites J.R. to meet her well-to-do and highly educated parents at the Lawson family home. (Mark Boyett plays Sydney’s father, and Quincy Tyler Bernstine plays Sydney’s mother, who don’t have first names in the movie.) The only purpose of this section of the movie is to show that J.R. feels self-conscious about his working-class background and that Sydney used this meeting as a test to see if J.R. could really fit into her world. It’s a world where people have a tendency to look down on working-class people from single-parent households.

Where exactly is Charlie during all of this drama in J.R.’s love life? Charlie only comes back into the picture whenever J.R. goes back to Manhasset to visit. And because Charlie is not an intellectual type who can skillfully guide J.R. on his writing ambitions, Charlie’s mentorship seems to be less impactful on J.R. as an adult, compared to when J.R. was a child. During the entire story, Charlie seems incapable of having a loving and committed relationship that lasts, so he’s not exactly the best person to give advice to J.R. about J.R.’s love life.

As much as Sydney manipulates J.R. by toying with his heart, the one sincerely good influence that she has on J.R. is that Sydney is the one (not Charlie) who encourages J.R. to apply for a job at The New York Times. J.R. is a talented writer, but he’s often plagued by self-doubt over his abilities. The rest of the movie is a bit of a slog in showing J.R.’s experience as a junior-level writer at The New York Times, while he still struggles with his love for Sydney.

“The Tender Bar” had potential to be a lot more engaging if it didn’t take up so much time on J.R.’s repetitive and predictable love affair with Sydney, the person who preoccupies most of his thoughts during his young-adult life that’s shown in the movie. The relationship between J.R. and his uncle Charlie, which is being marketed as the heart of “The Tender Bar,” is too often sidelined by showing what happens when J.R. goes to Yale and gets caught up in a bad romance.

It’s also a shaky premise for this movie to even put Charlie up on a “role model” pedestal in the first place, because he certainly doesn’t emotionally mature much during the approximately 14 or 15 years that this movie takes place. When J.R. moves away to go to Yale, Charlie is a drunk who acts like he’s a party guy in his 20s. When J.R. goes back to visit, middle-aged Charlie still has essentially the same lifestyle and mindset. If Charlie has any talent at anything, the movie never reveals what it is.

And that leaves audiences wondering, “What’s so great about Charlie?” It’s nice that Charlie provided emotional support for J.R. when J.R. needed a father figure as a kid. But by the time the movie ends, it’s obvious that between Charlie and J.R., only one of them has become a “grown-up” by gaining true wisdom from life experiences and by turning a talent into a career.

Amazon Studios released “The Tender Bar” in select U.S. cinemas on December 17, 2021, with a wider release on December 22, 2021. Prime Video will premiere “The Tender Bar” on January 7, 2022.

Review: ‘Nobody’ (2021), starring Bob Odenkirk, Connie Nielsen, RZA, Alexey Serebryakov and Christopher Lloyd

March 26, 2021

by Carla Hay

RZA, Bob Odenkirk and Christopher Lloyd in “Nobody” (Photo by Allen Fraser/Universal Pictures)

“Nobody” (2021)

Directed by Ilya Naishuller

Some language in Russian with subtitles

Culture Representation: Taking place in an unnamed U.S. city, the action film “Nobody” features a predominantly white cast of characters (with some black people, Latinos and Asians) representing the middle-class, working-class and criminal underground.

Culture Clash: A seemingly mild-mannered husband and father becomes an angry, gun-toting vigilante who has Russian mobsters out to get him.

Culture Audience: “Nobody” will appeal primarily to people who are interested in watching movies filled with over-the-top fight scenes and deliberately satirical comedy.

Paisley Cadorath, Gage Munroe and Connie Nielsen in “Nobody” (Photo by Allen Fraser/Universal Pictures)

In a world filed with action films that take themselves too seriously, the cartoonishly violent “Nobody” wants to be like a court jester, by poking fun at the movie’s characters and the action genre overall. It’s a film that takes pleasure in having audiences witness an “everyday,” seemingly “normal” person transform into an ass-kicking heroic type who protects the vulnerable and the downtrodden. It’s definitely not a superhero movie, but it’s more like a vigilante dark comedy with messages about the dangers of underestimating people who look harmless.

“Nobody” might get some comparisons to the 2014 action film “John Wick” because it starts off with a home invasion that triggers the story’s protagonist on a path of violent revenge. There’s a cute pet in the story (a puppy in “John Wick” and a kitten in “Nobody”), and both movies have David Leitch as a producer. “Nobody” writer Kolstad is a writer for the “John Wick” movies. But that’s where the similarities end.

“Nobody” and “John Wick” have styles and characters that are very different from each other. And cute pets aren’t killed in “Nobody.” John Wick (played by Keanu Reeves) is a mysterious loner without a family, while “Nobody” protagonist Hutch Mansell (played by Bob Odenkirk) is a husband and father. “John Wick” movies have a more sinister tone than “Nobody,” and the John Wick character has a more typical image of someone who’s ready for physical combat.

Directed by Ilya Naishuller and written by Derek Kolstad, “Nobody” actually taps into a similar mentality that Michael Douglas’ protagonist character had in the 1993 crime thriller “Falling Down.” Just like in “Falling Down,” the premise of “Nobody” is about an apparently law-abiding citizen whose pent-up anger at being underappreciated and ignored eventually explodes into a violent rampage against people he thinks are being bullies. “Nobody” takes a much more comedic route than “Falling Down,” but both films are commentaries on how seemingly respectable American men can be pushed over the edge and use self-defense or vigilantism as justification for their violence.

“Nobody” opens with a scene of Hutch sitting at a table in an interrogation room. Seated across from him are two unnamed law enforcement detectives (played by Kristen Harris and Erik Athavale). Hutch is bloodied, bruised and shows signs of other physical injuries. He’s smoking a cigarette, and he brings out a kitten out from underneath his jacket.

The female detective looks at Hutch and asks him suspiciously, “Who the fuck are you?” And then the screen cuts to the title of the movie “Nobody.” How did Hutch end up in this interrogation room? The rest of the film is a flashback showing what happened.

It all started when Hutch and his family became victims of a home invasion robbery, late one night. The robbers are husband and wife Luis Martin (played by Edsson Morales) and Lupita Martin (played by Humberly González), who wear masks and have guns while committing the crime. It’s never revealed why they targeted the Mansell household, but Hutch is the first to notice the burglars in the house, which is an unnamed U.S. city. (“Nobody” was actually filmed in the Canadian city of Winnipeg.)

Hutch lives in the home with his wife Rebecca, nicknamed Becca (played by Connie Nielsen), who’s a successful real-estate agent; their son Blake (played by Gage Munroe), who’s about 13 or 14 years old; and their daughter Abby (played by Paisley Cadorath), who’s about 7 or 8 years old. Blake also hears the intruders, but he lets his father go out in the living room to investigate. Hutch brings a golf club with him for protection.

Sure enough, Hutch is confronted by the robbers. Lupita sees some cash and loose change in a bowl in the living room and scolds Hutch for not having more cash in the house. Hutch replies, “I use a debit card.” She then demands that Hutch give her the watch that he’s wearing.

Just as she’s about to take Hutch’s wedding ring, Blake leaps from upstairs and tackles Luis. Blake and Luis get into a fight, while Hutch is about to hit Luis with the golf club. But Lupita aims the gun toward Blake, and Hutch tells Blake to back off of the robbers. Just then, Becca sees the commotion from the top of the stairs and tells the robbers to take anything they want.

But the robbers have had enough of this bungled home invasion and they run away. They’ve stolen about $20 in cash and Abby’s kitty-cat bracelet that were in the bowl in the living room. And they’ve also stolen the family’s sense of trust and safety in their own home.

When the police arrive to investigate, the cop asking the questions expresses surprised disappointment that Hutch didn’t do enough to stop the robbers. Blake shows some resentment toward Hutch because Blake feels that he and Hutch would’ve won in the fight against the criminals. And the end result is that Hutch is made to feel like he was a wimp who made the wrong decisions during the home invasion.

During the attack, Hutch noticed some big clues that might be helpful to the investigation. The female robber had a distinctive tattoo of a bird on her wrist. And her gun was an old Smith & Wesson .38 special. And when the shock of the home invasion wears off, Hutch remembers that this robber’s gun was actually empty. And knowing this makes Hutch feel even more like he wasn’t man enough to protect his family.

The next day, a neighbor named Jim (played by Paul Essiembre), who lives next door to the Mansells, tells Hutch: “I heard you had some excitement last night. Man, I wish they [the robbers] could’ve picked my place. I could’ve used the exercise.”

Jim then shows off the 1972 Dodge Challenger that he inherited from his dead father. The car is in tip-top shape. And it’s at this point in the movie that you know that this car is going to be in a chase scene.

The early parts of “Nobody” have a series repetitive montages to show that Hutch’s monotonous “daily grind” life has made him bored and unhappy. He works as an accountant at a dull office job at Williams Manufacturing Ltd., which is owned by his father-in-law Eddie Williams (played by Michael Ironside), who is preparing to retire sometime in the near future. Hutch has offered to buy the business, but Eddie has said no because he tells Hutch that Hutch’s monetary offer isn’t good enough.

Instead, Eddie said he’ll probably pass on the business to Eddie’s son Charlie (Billy MacLellan), a boorish lunkhead who taunts Eddie about the home invasion by pointing a gun to Eddie’s head when they’re at work together. Charlie then gives the gun to Hutch and tells him in a condescending voice, “Keep my sister safe, bro.” Hutch reluctantly takes the gun.

When Hutch exercises outside, he can see his wife Becca’s enlarged image in her real-estate ad at a nearby bus stop. Because of this ad, she literally overshadows him while Hutch works out. And it’s not said out loud in the movie, but it’s implied that Becca makes more money than Hutch does. It’s shown later in the movie that Hutch and Becca’s marriage has lost its passion and romance.

And when Blake says he has to do a school report on a military veteran, he asks Hutch if he could interview him for the assignment. Hutch replies that he was an auditor in the military, so he was “kind of a nobody. That makes for a pretty dry story.” Becca suggest that Blake interview her brother Charlie instead, since Charlie was “a real soldier.”

As soon as Becca says that she apologizes to Hutch, who looks like he’s used to these backhanded insults. Hutch then suggests that Blake interview Hutch’s father, “who saw some real [combat] action.” Hutch’s father David (played by Christopher Lloyd) is currently living in a nursing home.

With Hutch feeling powerless and emasculated in his own home, the only person he can turn to for advice is someone named Harry (played by RZA), who is in hiding for reasons that are explained later in the movie. It’s also revealed later why Harry and Hutch know each other. Until Harry appears in person (it’s not spoiler information, since it’s in the movie’s trailer), Harry is just a voice that Hutch communicates with over a stereo radio.

Harry can sense that this home invasion has triggered something dangerous in Hutch. Harry advises Hutch: “I know what you’re thinking about. Don’t do nothing stupid. You hear me?”

But it’s too late. Through a series of events, Hutch finds out the identities of the two home invasion robbers. It sets off several violent encounters, as Hutch goes into full vigilante mode. One such incident is when he’s on a city bus and notices that five young thugs have surrounded a teenage girl, with the intent to harass her.

They are the only passengers on the bus. Hutch calmly makes the driver stay outside the bus, and then he completely goes off the thugs in one of the movie’s most memorable scenes. It’s the type of fight scene that’s completely unrealistic, but it’s entertaining for people who like watching outlandish stunts.

Throughout the movie, Hutch experiences the type of injuries that would land people in a hospital emergency room, but he’s able to walk away with just some grimaces and some heavy limping. Because this movie is intended to be a dark comedy, these far-fetched fight scenes are very slapstick. However, viewers need to have a high tolerance for bloody violence to enjoy this movie.

One of the thugs who gets badly injured by Hutch during the bus battle is named Teddy Kuznetsovj (played by Aleksandr Pal), whose injuries include brain damage and possible permanent paralysis. Teddy just happens to be the younger brother of a demented Russian mobster named Yulian Kuznetsov (played by Alexey Serebryakov), so you know what that means. Yulian finds out that Hutch s responsible for Teddy’s near-fatal injuries and vows to get revenge.

Yulian provides security for a Russian organization called Obshak, which houses a fortune worth millions. So there’s big money at stake in this crime saga. Yulian’s has several goons helping him track down Hutch. Among these accomplices is Yulian’s half-Russian, half-Ethiopian right-hand man Pavel (played by Araya Mengesha), whom Yulian viciously defends when some racist gangsters try to degrade Pavel for not being white.

As an example of some of the goofy quirks in this movie, Yulian likes getting on stage and performing to corny dance-pop music. There’s a scene of Yulian at his favorite nightclub Malina, which is the type of gaudy and tacky nightspot where you might see wannabe Eurovision Song Contest performers. Yulian leaps on stage with one of the singers and starts dancing as if he’s the star of the show.

Another sight gag in the film is during a big shootout at Williams Manufacturing Ltd., Hutch is near a wall sign that that reads, “This department has worked 204 days without lost time accident. The best previous record was 91 days. Do your part.” The number 204 is on a part of the sign that is erasable. In the middle of the melee, Hutch takes his elbow and erases the number 204, to indicate that the office isn’t a safe space anymore.

Even with these touches of comedy, the main attraction for “Nobody” remains the action. Fortunately, the movie doesn’t let up on its adrenaline pace. And the filmmakers understand that the spectacle of Hutch being a one-man combat machine isn’t enough, so there are more people who eventually join Hutch in his fight against Yulian and his thugs. The choreography and stunts in the fight scenes are much better than the movie’s visual effects. (For example, there’s a scene with a massive fire where the flames look very fake.)

Odenkirk carries the movie with an entertaining flair as Hutch, who never really loses his humanity underneath all of his rage. If viewers are wondering how Hutch is able to have such masterful fighting skills, it’s explained in the movie. The explanation isn’t surprising in the least, since there were many clues that Hutch isn’t as “average” as he first appears to be. The ending of “Nobody” is a clear indication that the filmmakers want this movie’s story to continue. And based on all the crowd-pleasing aspects of this movie, there’s a high likelihood that “Nobody” won’t be the last time that viewers will see Hutch Mansell.

Universal Pictures released “Nobody” in U.S. cinemas on March 26, 2021. The movie’s VOD release date is April 16, 2021.