Film

Nobody

Bob Odenkirk trades Saul Goodman's silver tongue for a tire iron in this gleefully brutal action comedy about the terrifying gap between how a man looks and what he's actually capable of. Directed with real craft — the bus fight is an instant genre classic — it's lean, funny, and satisfyingly cruel to its villains. Ninety minutes, no fat, built for anyone who misses when action stars actually fought.

TMDb rating7.9

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John Wick2014

Same screenwriter, same stripped-down philosophy: a quiet, grieving man turns out to be the most dangerous person in any room. If Nobody's rhythms clicked, this is the mother lode.

But The mythology piles up fast across the sequels, and if you want one clean film, the franchise's growing scale might feel like a lot.

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The Man from Nowhere2010

A pawnshop owner nobody notices turns out to be an ex-black-ops killer once a child he loves is threatened — Nobody's exact premise, played utterly straight and devastatingly well.

But It's far grimmer and more violent than Nobody, with none of the wisecracking to soften the brutality.

The Man from Nowhere poster

A History of Violence2005

Cronenberg's take on the same idea — a mild diner owner with a buried past — played for dread and moral consequence instead of catharsis. Viggo Mortensen is genuinely chilling.

But It's slow, cold, and more interested in unease than in giving you a satisfying beatdown.

A History of Violence poster

The wildcard

Something you would not have found on your own.

Brother1997no page yet

Nobody's villain is Russian mob nostalgia for a certain kind of quiet, unglamorous killer — this is the real ancestor of that figure, made in the chaos after the USSR fell, and it shaped how Russian crime cinema pictures men exactly like Yulian.

A quiet, unassuming young ex-soldier drifts into St. Petersburg's criminal underworld and turns out to be terrifyingly good at killing — the same gap between appearance and capability, shot as bleak post-Soviet realism instead of stunt spectacle.

But There's no comic relief and no triumphant catharsis — it's a genuinely bleak, morally ambiguous film about violence hollowing a man out.

More like this (8)

Taken2008

Liam Neeson's late-career reinvention as an action star runs on the same fuel as Odenkirk's here: an ordinary-seeming dad who turns out to have a very particular set of skills.

But It's blunter and less stylish, with a plot that doesn't hold up to much scrutiny.

Taken poster

The Equalizer2014

Denzel Washington as a soft-spoken hardware store clerk hiding decades of lethal expertise — patient, methodical violence delivered with real menace and a similar dark sense of humour.

But It's a good half hour longer than Nobody and takes its time getting to the fireworks.

The Equalizer poster

Kill Bill: Vol. 12003

Tarantino's operatic, blood-soaked revenge fantasy shares Nobody's love of choreography as spectacle — violence as dance, villains as colourful obstacles to be gloriously dispatched.

But It's stylised to the point of near-abstraction; if you wanted grounded realism, this swings hard the other way.

Kill Bill: Vol. 1 poster

Léon: The Professional1994

The hitman-with-a-soft-side template Nobody borrows from, done with real tenderness alongside the carnage. Jean Reno is magnetic and the action still holds up decades later.

But The central relationship between Léon and Mathilda has aged uncomfortably for some viewers and needs to be taken on its own terms.

Léon: The Professional poster

Violent Night2022no page yet

David Harbour's Santa turns out to be an ex-Viking warrior when a heist crashes his Christmas Eve delivery — the same gleeful, gory, comic-book violence as Nobody, wrapped in tinsel.

But The Christmas-slasher tone is broader and sillier; if you wanted Nobody's straighter action beats, this leans harder into the joke.

Atomic Blonde2017

Charlize Theron delivers the same kind of bruising, brutally physical set-pieces — a stairwell fight that rivals Nobody's bus brawl for sheer punishing choreography.

But The Cold War spy plotting is deliberately tangled and can overshadow the action if you're just here for the fights.

Atomic Blonde poster

Straw Dogs1971

It's the direct ancestor of the home-invasion-awakens-the-monster premise Nobody plays for release — the same structural idea, fifty years earlier, minus the wink.

Long before Nobody, Sam Peckinpah made the definitive film about a mild, unassuming man pushed past his limit by intruders in his own home — visceral, uncomfortable, and genuinely disturbing.

But It's grim and morally troubling, deliberately hard to enjoy the way Nobody wants you to enjoy its violence — this one wants you to flinch.

Straw Dogs poster

The Incredibles2004

Same engine, opposite costume: the humiliated, underestimated family man rediscovering his lethal former life, told as a bright PG superhero comedy instead of an R-rated bloodbath.

A suburban dad squeezed into an office cubicle, quietly furious at how small his life has become, until a crisis lets him be exactly as dangerous as he always was — Pixar's most purely joyful action movie.

But It's a family cartoon with none of the blood — if you came to Nobody for the violence itself, this swaps it out entirely.

The Incredibles poster

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