Nobody appears in an aspect ratio of approximately 2.39:1 on this 4K UHD Disc. The Dolby Vision picture looked fine most of the time.
Sharpness was generally good but not exceptional. A few shots showed some softness, but those were fairly minor instances, and they largely reflected the movie’s stylistic choices.
I noticed no jaggies or moiré effects, and edge haloes never manifested itself. In addition, the film failed to display any print defects.
Like most modern action flicks, this one opted for stylized hues, with an emphasis on the standard amber and teal, though it threw in bold reds and purples at times as well. Within those constraints, the colors seemed fine, as they showed appropriate range, and the disc’s HDR added emphasis and power to the hues.
Blacks were dark and full, and shadows showed good range. HDR contributed extra oomph and clarity to whites and contrast. Outside of some softness, this became a satisfying presentation.
Downconverted to Dolby TrueHD 7.1, the Dolby Atmos soundtrack of Nobody also worked well. Various action elements offered the most active use of the spectrum. This was especially true during pieces with weapons fire and fights, and a few other sequences used the various channels in a satisfying way.
The action scenes didn’t emerge on a relentless basis, but when they appeared, they utilized the soundscape in an engrossing manner. In addition, we got some localized speech and music made active use of the different channels.
Audio quality pleased. Speech was concise and natural, without edginess or other issues.
Music showed good range and vivacity, while effects worked nicely. Those elements came across as accurate and full, with solid low-end response and positive definition. All of this added up to a “B+”.
How did the 4K UHD compare to the Blu-ray version? Audio remained identical, as both came with the same Dolby Atmos soundtrack.
As for the Dolby Vision 4K UHD, it showed expected improvements, especially in terms of the way the HDR made colors stronger. The 4K’s superior resolution also meant grain looked heavier and the minor softness more obvious. I still prefer the 4K because it replicated the film in a more accurate manner, but it didn’t seem like a big upgrade because the source itself came with limitations.
When we move to extras, we find two separate audio commentaries, the first of which comes from director Ilya Naishuller and actor Bob Odenkirk. Both sit together for this running, screen-specific look at story/characters, cast and performances, action and stunts, and related domains.
At times, we get decent insights, such as when Odenkirk discusses how his real-life experiences with break-ins influenced his work. However, too much of the track just features Odenkirk as he laughs and/or narrates the film, with Naishuller as a semi-infrequent participant. We don’t learn a lot in this disappointing discussion.
For the second commentary, we get director Ilya Naishuller all on his own. He provides a running, screen-specific take on story/character areas and deleted scenes, sets and locations, budgetary restrictions and influences, cast and performances, music, stunts/action, cinematography and connected subjects.
Whereas Naishuller took a backseat in the first commentary, he proves very chatty here. Because he seemed semi-quiet when paired with Odenkirk, I feared he'd leave lots of dead air here, but that doesn't occur.
Instead, Naishuller gives us a lot of content here and moves along the discussion at a good pace. Whereas the first chat disappoints, this one works very well.
Three Deleted Scenes span a total of four minutes, 58 seconds. All of these look at efforts for various parties to dig into Hutch’s past, though here it’s Hutch’s father-in-law who asks. These offer an intriguing alternate plot line, though not one the movie needed.
Three featurettes follow, and Hutch Hits Hard goes for three minutes, 52 seconds. It involves Odenkirk, Naishuller, stunt coordinator/2nd unit director Greg Rementer, producers Kelly McCormick and David Leitch, fight coordinator/cast trainer Daniel Bernhardt, fight coordinator/stunt performer Kirk A. Jenkins and actor RZA.
“Hard” examines Odenkirk’s training and the movie’s stunts/actions. Some decent notes emerge and I like the behind the scenes footage, but a lot of “Hard” just praises Odenkirk.
Breaking Down the Action splits into four subdomains, with a full running time of 19 minutes, seven seconds. Across these, we hear from Odenkirk, Leitch, Naishuller, Rementer, Jenkins, Bernhardt, RZA, special effects fabricator Shayne Elliott, stunt performer Brayden Jones, and actor Christopher Lloyd.
As expected, we get details about the movie’s various fight sequences. Despite some of the usual happy talk, these clips usually provide some good insights.
Finally, Just a Nobody lasts 12 minutes, 53 seconds and features Odenkirk, Neishuller, Leitch, McCormick, RZA, producers Braden Aftergood and Marc Provissiero, and actors Connie Nielsen and Alexey Serebryakov.
“Just” covers story/characters, action scenes, cast and performances, and a few other areas. It becomes a serviceable overview, though it can repeat info from elsewhere.
A second disc provides a Blu-ray copy of Nobody. It includes the same extras as the 4K.
The Blu-ray opens with ads for Promising Young Woman and The Marksman. No trailer for Nobody appears here.
As a story of an aging badass who tries to get out but finds himself pulled back in, Nobody never becomes especially original. However, the movie pulls off its action and thrills with such style and aplomb that I don’t care. The 4K UHD brings good picture and audio along with a fairly nice array of bonus materials. Nobody turns into a wry and exciting flick.
To rate this film, visit the prior review of NOBODY