The best action movie of 2025 so far has arrived on demand on Prime Video

Hutch Mansell tries to turn a trip into a rest with his wife and children, but the break is undone when a local criminal scheme invades everyday life and exposes the fragility of normality. In “Anonymous 2”, the city depends on a tired theme park, a showcase of failed promises and opportunistic alliances that confuse fun with basement business. The former assassin, now a father in search of a reliable routine, identifies signs of danger in details that others ignore, and the old skill grows again in the body. With Bob Odenkirk, Connie Nielsen, RZA, Christopher Lloyd, John Ortiz, Colin Hanks and Sharon Stone, directed by Timo Tjahjanto, the narrative treats Hutch’s return as a test of character in the face of the temptations of the past.

The starting point is not complicated: holidays, family, a place that sells happiness for admission and the perception that small conflicts hide a wider network of extortion and collusion. Odenkirk combines dry grace and controlled exhaustion, balancing a body that carries memories of pain with an eye trained to measure distances, exits and useful surfaces. Connie Nielsen plays Becca as a lucid partner, aware of the risk of living with someone who protects their own, even if this calls upon forces that have no place in everyday life. The couple observes each other with affection and fear, and this friction keeps the question alive about how far the family can tolerate living under alert.

Tjahjanto prioritizes spatial clarity. Fights are born from visible decisions and audible consequences, without cuts that hide impact. The camera follows the body, not the pyrotechnics, and organizes trajectories that begin with a look and end with banal objects converted into defense. Benches, handrails, signs and doors change roles when combat requires improvisation. The humor appears from the precision of these uses and the contrast between the protagonist’s fatigue and the efficiency that insists on returning. Laughter does not dilute the threat; It serves as a breather that keeps your attention on what is to come.

The antagonists reinforce this pragmatic design. John Ortiz and Colin Hanks represent the provincial ambition that grows in environments where everyone knows everyone and almost no one is responsible for their actions. Sharon Stone creates a cold, seductive and practical leader, capable of defining the direction of the city when violence goes beyond the limit tolerated by her accomplices. Villainy avoids total caricature by retaining its own logic, even if some motivations receive less time than they deserve. In confrontation with Hutch, these characters reveal how local power thrives on small gestures and the feeling of impunity.

The script prefers economy. Instead of long explanations, it places the protagonist in front of impasses that require immediate reaction. The effect is a tempo that advances without fanfare and preserves the tension of the present. Certain ties, however, are only suggested. There are signs of distance between Hutch and the family that would require further development, and some consequences dissipate quickly after intense shocks. Still, the continued focus on current decisions preserves interest and confirms that normality depends on choices made under pressure.

The comparison with the first film is inevitable. The previous central memory was the fight on the bus, which condensed the character’s discovery and reinvention. Here, the focus is on variety and rhythm. Instead of chasing a single monumental moment, the narrative presents successive situations that explore corners, technical passages and deactivated attractions in the park. The space, worn and still functional, functions as an improvised defense manual, in which creativity matters more than perfection. The result favors solutions within reach and confirms that the entire city can become an opportunist arsenal.

Odenkirk supports this project with a body that betrays time and a face that dominates sarcasm. He avoids armored heroism. Accept the stumble, make a mistake, fall, get up and continue. The grace arises from the honesty of this presence, which aligns with Tjahjanto’s preference for frames that register reaction and consequence. Connie Nielsen follows this shift firmly and transforms Becca into a moral reference that does not ignore the risk. RZA and Christopher Lloyd return as echoes of a story that insists on knocking on the door, remembering that Hutch’s network of affections is not limited to the home and can both help and complicate.

The music weaves tension and relief without taking the lead. The montage preserves the path of the eye and avoids confusion when the scenery offers distractions on all sides. This clarity works as an aesthetic choice and also as an ethical rule: the audience understands where each character is, what they can do and what price they pay for each step. When humor grows, pain doesn’t become a cruel joke. Laughter appears as a survival tool and allows you to breathe before the next blow.

Not everything convinces. One or another supporting character behaves like a disposable part, and the city, with its institutions, is sometimes reduced to silhouettes. These limitations do not erase the interest of seeing Tjahjanto dialogue with a universe that demands spectacle and finds its main route in physicality. Instead of announcing a total reinvention, “Anonymous 2” consolidates an identity based on readable action, controlled irony and observation of a family trying to preserve routines while the past sharpens its aim to get them right again.

The outcome resists easy answers. Hutch remains torn between domestic shelter and the pull of a world that will always recognize him as a useful tool. The impression remains that the promise of normality needs to be renewed daily, and that any new journey will require other agreements between who he was and who he tries to be.