(SeaPRwire) – A film titled Normal usually suggests a bit of sarcasm, especially with John Wick writer Derek Kolstad and Free Fire filmmaker Ben Wheatley involved. However, Normal—which features Bob Odenkirk as an interim sheriff in a quiet Minnesota community facing an onslaught from armed locals—is actually quite standard. It manages to be slightly better than average, though, thanks to Wheatley’s energetic direction and Odenkirk’s established action credentials.
The story centers on Sheriff Ulysses (Odenkirk), a man seeking a low-stress position to recover from a difficult divorce and past trauma. He accepts a temporary post in Normal, Minnesota, a typical-looking Midwestern town that hides some strange secrets: a police station stocked with high-end military gear, a mayor living in a billion-dollar estate, and an unusual amount of funding for local projects.
Ulysses initially ignores these oddities, hoping to stay out of trouble until a permanent sheriff is chosen. Things escalate when two thieves (Reena Jolly and Brendan Fletcher) attempt a bank heist, discovering billions in gold bars. When Ulysses tries to intervene, his own deputy turns on him. Soon, the entire population—including a knitting shop owner and a bartender (Lena Headey)—is trying to kill him to prevent a massacre by the Japanese yakuza.
This absurd plot feels like a direct homage to Edgar Wright’s Hot Fuzz. While the idea of a cult-like town turning into a war zone is appealing, Normal struggles to fully distinguish itself from the John Wick formula it tries to subvert.
The screenplay by Kolstad is somewhat inconsistent, featuring predictable plot points and clunky dialogue. It serves as a reminder that John Wick started as a B-movie titled Scorn before being transformed by Keanu Reeves and Chad Stahelski. While Normal doesn’t reach those heights, Wheatley’s skillful direction—reminiscent of his work on High Rise—keeps it superior to most John Wick clones.
The film succeeds because the action is gritty, unpolished, and constant. Wheatley employs a dry sense of humor similar to Wright’s; for instance, a fight with a postman is abruptly ended by a falling sign. The movie utilizes various setups and payoffs but often prefers chaotic solutions, like driving vehicles through buildings, over standard fight choreography.
Notably, Odenkirk portrays an ordinary man fighting for survival rather than an elite killer. This is a departure from his character in Nobody, another Kolstad project, allowing Odenkirk to bring a charming, everyday quality to the role.
While Normal might not fully capitalize on its wild premise or the irony of its name, it offers inventive action and solid performances from supporting actors like Henry Winkler and Headey. The collaboration between Wheatley and Odenkirk ensures it remains an entertaining experience.
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