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Is there any contemporary filmmaker with a more eclectic catalog than Ben Wheatley? His latest, Normal, is anything but that for the experimental Englishman. By teaming with “Action Pops Bob Odenkirk,” Wheatley takes a stab at small-town American exploitation, layered with mystery, egg rolls, and bloodshed. It’s a little Fargo, a dash of The Last Stand, and plenty of Hot Fuzz with a Midwestern accent. Crockpot hospitality gives way to intense shootouts that bring a community together in a despicable way, thanks to a charming yet chaotically carnage-laced screenplay from Derek Kolstad.
Odenkirk stars as Ulysses, the interim sheriff of the snowy, isolated Minnesota town of Normal, population sub 2,000. He’s known for his light touch and tempered demeanor, which is music to Mayor Kibner’s (Henry Winkler) ears, who takes pride in Normal’s sleepy reputation. But trouble follows Ulysses despite his best attempts, in the form of novice bank robbers Lori (Reena Jolly) and Keith (Brendan Fletcher). Ulysses jumps (er, saunters) into action, attempting to diffuse the situation. Still, something’s not right in Normal (beyond the last sheriff’s unexplained death), and two bumbling criminals are about to turn the territory into a war zone.
It’s a fantastic use of Odenkirk, beyond a bushy lawman mustache. Ulysses is a sentimental, wholesome man who calls his estranged wife Penny, and leaves pleasant messages that serve as the film’s narration. He’s seen unthinkable darkness, and wants Normal to be his escape—but then the switch flips. Odenkirk finds this balance between Marge Gunderson’s bubbly disposition and gruff cop-with-secrets stereotypes that plays into Ulysses’s “calm cleans messy” mantra. The desperado attitude is there, and comes out when necessary, especially when bullets fly in his direction. However, it’s not always needed, and Odenkirk sells those soak-it-in moments as Ulysses gazes upon a majestic moose or bites into the comfort of Normal’s culinary staple: meatloaf.
Wheatley relishes the slice-of-life hokiness inherent in a Fargo-esque setting, from smiling Kenny’s ice cream parlor to Deputy Mike Nelson (Billy MacLellan) in his squeaky leather jacket, who treats Ulysses like an immediate best friend. There’s a sitcomy softness about Normal as we’re introduced to its welcoming committee, which Ulysses falls right into, solving quarrels with honey versus vinegar—until he notices an abundance of weaponry in almost every building. Slowly, the facade begins to shatter, but before we can make any guesses, the experience shifts into a shocking conflict that reveals a far more sinister underbelly of Normal. One that Ulysses has to blast his way through, now teaming with Keith and Lisa, who are the only people in town not trying to execute him in the streets.
It’s a clean, quite exciting twist, and Odenkirk transitions with grace while not really altering his performance. He’s a fixer, and now he’s fixing another problem—his survival.
From here, the ensemble starts having even more fun. Doofy Mike foils his stealthiness with the alert of his “cool guy” jacket; Moira, the bartender (Lena Headey), totes a shotgun that puts an exclamation point on her bottlecap wisdom; ex-military loner Alex (Jess McLeod) becomes a valuable ally to Ulysses, with a standout performance by McLeod.
As schemes come to light and Normal’s faithful protect what’s theirs, Wheatley indulges the violence no civilian asked for—yet still keeps the surprises flowing. He handles Kolstad’s zigzaggy screenplay so adeptly, which keeps challenging Ulysses to problem-solve his way out of imminent danger. Everyone’s so delightful until they’re not, but they still don’t want to die. Ulysses can talk his way out of trouble at times, which keeps us guessing on whether interactions will go up in smoke or conclude with begrudging reason, and the cast loves playing in this hair-trigger sandbox.
As for the action sequences, it’s more about unloaded ammo, but Odenkirk still gets some serious licks in. Whether it’s taking advantage of a hardware clerk who chews an iron nail like straw or a gangster showdown in a greasy-spoon kitchen, Odenkirk flashes his modest combat chops. But the Wild West-ish shootouts of this tundric neo-western are a blast, especially once evidence cabinets are raided for grenade launchers. Normal’s ranks don’t just die; they die hard. Characters meet fates that’ll make you both wince and burst out laughing at this amplified gratuity, which Wheatley uses to juxtapose the otherwise rosy aspects of tight-knit community lifestyles.
All said, Normal was a highlight screening at this year’s South by Southwest festival (it was screened in 35mm, which only added more grit). It’s as warm and sweet as cherry pie, and messy like it too, but those crimson stains aren’t from the fruity filling. Wheatley’s having a ball with Kolstad’s achingly Americana script, embellishing the “how are ya now?” politeness of bundled-up Minnesotans who hide a humorous mean streak that still, somehow, doesn’t lose its cheery vibes. Moments deliver what’s needed: guns-blazing action, chummy introspection, comical friendship goofs, or good old-fashioned cowboy justice. For all that tonal shifting, Wheatley weathers the storm with nimble vision and captivation. It’s the kind of movie you’ll be excited to show your father over the holidays—a worthy addition to the “Hell Yeah” canon of Dad Cinema.
Movie Score: 4/5
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