Film Review – Normal (2025)

      Normal, 2025.

      Directed by Ben Wheatley.

      Starring Bob Odenkirk, Henry Winkler, Lena Headey, Ryan Allen, Billy MacLellan, Brendan Fletcher, Peter Shinkoda, Jess McLeod, Reena Jolly, Brian Kawakami, Dan De Jaeger, Alex MacMillan, John C. MacDonald, David Lawrence Brown, Derek Barnes, Megan MacArton, Chad Bruce, Carson Nattrass, Harry Nelken, Bradley Sawatzky, Lauren Cochrane, Takahiro Inoue, Yuhito Adachi, Sarah Constible, Pat Harris, and Yosuke Mino.

      SYNOPSIS:

      Follows a temporary small-town sheriff who uncovers dark secrets after a bank heist occurs locally.

      Reuniting for a new venture, seasoned action star Bob Odenkirk and screenwriter Derek Kolstad seem to have plenty of ideas to immerse the former in various brawls and gunfights that oscillate in tone. What isn’t typical is how the concept appears quite simplistic, as if they didn’t put in the effort to flesh out the scant story and various characters present in Ben Wheatley’s Normal into something deserving of the struggles faced by the aging lead throughout moments that feel both grounded and reminiscent of a Looney Tunes cartoon.

      Set in the eponymous small town in Minnesota, Odenkirk and Kolstad’s narrative seems to blend elements from Nobody, infusing it with the oddball atmosphere and mythos-building of John Wick, originating from a rather silly premise that feels almost disregarded as soon as it is presented. Given the quirky internal dialogues of Odenkirk’s character, which occasionally delve into the challenges of a difficult work period that has led to his separation from his wife and a new role as interim sheriff (which is meant to be an uncomplicated job with minimal conflict that allows him to avoid interfering in others' lives while focusing on his own mental healing), it clashes poorly with the exaggerated violence seen when Henry Winkler is blown up with a grenade launcher, the Yakuza express their annoyance at needing to visit this small, monochrome, snowy town, and townsfolk of various ages arm themselves amidst the chaos. At one point, an unearned Rube Goldberg-style kill is used solely to initiate a final action sequence that, regrettably, concludes the film on a disappointing "that's it" note.

      Drawing on nearly every cliché available, it should come as no surprise that Ulysses (Bob Odenkirk) was selected to assume the sheriff duties for a few months following the previous lawman's death for a particular reason. He meets various locals, including a welcoming bartender played by Lena Headey, the mourning daughter of the deceased sheriff (Jess McLeod) who suspects foul play, a woman grappling with a candy vending machine (Reena Jolly), and he navigates disputes in hardware stores as well as in the sheriff's office, where he receives guidance from Deputy Blaine Anderson (Ryan Allen). The community adores its mayor (Henry Winkler), and a new permanent sheriff will be appointed shortly. As Ulysses notes, his primary responsibility is to remain visible while keeping the town as he found it, all while working on himself and considering whether his marriage can be repaired.

      This plan becomes unfeasible when an unexpected bank robbery occurs, leading to multiple revelations once Ulysses arrives at the scene. Of particular interest is that the interim sheriff finds himself betrayed and reluctantly allied with the robbers (who intend no harm and simply wish for cash to improve their lives). Moreover, this isn’t just any bank; it holds a secret so grave that its manager would prefer to take his own life rather than confront the Yakuza he is involved with. It also emerges that much of the town is complicit in the corruption, as it slightly benefits them.

      Thus, interim sheriff Ulysses faces not only crooked law enforcement but also townspeople, some older than him, who possess a dangerous thirst for violence. There are moments of humor and cleverness, such as a contained fight involving an elderly woman with a shotgun, leveraging her surroundings. However, as previously mentioned, nearly every original twist the film introduces is either swiftly abandoned or ignored in favor of more conventional action that serves a largely predictable storyline. Throughout one chaotic night, Ulysses slowly rediscovers his moral compass, steering a handful of friends towards safety, yet all of this seems hollow and melodramatic given the shockingly grim situation that placed him in this predicament initially.

      As noted, the film's tone is inconsistent. While there are undoubtedly crowd-pleasing violent moments with Bob Odenkirk once again subjecting himself to physical strain, the rest of his performance feels lethargic, much like the narrative. Countless unconventional ideas are presented in Normal; however, few resonate, detracting from the film's momentum