Normal Review: Bob Odenkirk Goes Ballistic Yet Again

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It’s surprising to see the worlds of John Wick and Mr. Show collide, but here we are with Bob Odenkirk’s latest film, his third project with writer Derek Kolstad. With so many John Wickinspired action movies released in the last twelve years—many of which simply recycled the idea of a seemingly ordinary person revealing hidden deadly skills for revenge—it’s a welcome change that this one leans into comedic chaos. Odenkirk plays Ulysses, not a highly trained killer, but an Fargolike everyman who happens to be a good shot and pretty lucky.

The screenplay for the film comes from a story by Kolstad and Odenkirk, who then brought on director Ben Wheatley. Wheatley’s style—a blend of dark humor and raw masculinity—works well with the film’s carefully planned action sequences. It’s more similar in tone to Free Fire than to Nobody, and explores how financial hardship can ripple through a small community. Wheatley’s talent for both goofy comedy and explosive action makes this film a stronger and more engaging project than Odenkirk has done before.

Normal Utilizes Odenkirk’s Everyman Charm To Masterful Effect

The first part of the film Normal feels similar to Hot Fuzz. Ulysses is the temporary sheriff of a small town in Minnesota, filling the position for eight weeks until the next election, and using it as a distraction from a difficult time with his wife. He’s intentionally keeping a low profile – in fact, he’s become skilled at avoiding involvement and doesn’t bother much with strict rules, which has helped him stay out of trouble so far.

Normal appears like many other small towns in America. It has a main street with the usual shops and services, but many residents have left due to financial hardship. Despite this, Ulysses quickly notices some strange things. The town hall has unexpectedly raised over twelve million dollars for rebuilding, and the police department is surprisingly well-equipped with advanced military technology.

Ulysses is a man of action and intends to leave town without causing any trouble, restoring it to how he found it. However, he runs into problems when he tries to learn about the previous sheriff’s death – information seems to be deliberately hidden. The mayor, Kibner, is evasive and unpleasant, and at the memorial service, Detective Blaine wants to keep the deceased sheriff’s daughter, Alex, away from everything. Ulysses discovers the former sheriff died while ice fishing at night, which immediately seems very strange and raises a lot of questions.

Despite the town of Normal appearing peaceful, trouble quickly arises when a seemingly ordinary couple, Lori and Keith, attempt to rob the local bank. This single act sets off a chain reaction, revealing that Normal is actually controlled by the Yakuza. Suddenly, Ulysses, Lori, Keith, and Alex find themselves caught in a dangerous conflict with the Yakuza, all while a major snowstorm descends upon the town.

Shot on film by Armando Salas (known for his work on Griselda), Normal has a grainy texture that adds to its edgy feel. The movie feels like a modern Western set in the snow, with the main character, Ulysses, as a gentler, more mature version of the classic lone wanderer. It shares a playful spirit with Mel Brooks’ Blazing Saddles, particularly as Ulysses attempts to unite the town in a scheme against the Yakuza. Despite the film’s often ridiculous premise, it’s shot in a realistic and down-to-earth style, creating a surprisingly compelling contrast.

While not overly complex, the film is enjoyable and clever, avoiding feeling drawn-out. At a neat 90 minutes, Normal offers a welcome burst of energy, particularly during bleak times. The characters are well-developed thanks to Kolstad’s skill, making us invested in their fates, even when things go wrong. Wheatley’s technical expertise elevates the film beyond its ordinary premise, making it stand out.

Normal screened at the 2026 SXSW Film & TV Festival.

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2026-03-17 13:59