EENIE MEANIE (2025)

August 22, 2025

Greetings again from the darkness. Car chases are prevalent throughout movie history. Some are quite exhilarating and famous: BULLITT (1968) and THE FRENCH CONNECTION (1971). Some are over-the-top: pretty much every driving sequence in the F&F franchise. The directorial debut of writer-director Shawn Simmons revolves around a talented getaway driver, and there are certainly a couple of heart-pumping sequences, but the movie is as much a look at how bad decisions impact one particular character, Edie.

We first see Edie as a 14-year-old (played by Elle Graham), who is coerced by her father (Steve Zahn) to “punch it” to save her mother from an unfortunate (and illegal) occurrence. Flash-forward a few years and we find Samara Weaving (so good in READY OR NOT, 2019) as Edie, now stressed out over being robbed at her bank job, her relentless poverty, a broken-down car, and prepping for her college exams. Her bad day is topped off by an unwelcome surprise from her doctor at a check-up.

This surprise leads Edie (nicknamed Eenie Meanie) to track down the bad news boyfriend she’s been diligently working to move on from. John (Karl Glusman, who exposed his full talents in LOVE, 2015) is the kind of guy that creates chaos simply by living. If he doesn’t find trouble, it’s not long before trouble finds him. So when Edie finds John, she of course also finds trouble. This time her man-child owes crime lord Nico (Andy Garcia) so much money, that Edie agrees to be the driver in a high-risk casino robbery that Nico says will save John’s life.

We get the expected montage of heist planning, and along the way, Edie crosses paths with characters played by Jermaine Fowler, Randall Park, Chris Bauer, Mike O’Malley, and most memorably, Marshawn Lynch – a rival driver in a fancy red mink robe and customized Continental. The movie feels like it’s Shawn Simmons answer to Edgar Wright’s superior BABY DRIVER (2017). The fallout from bad decisions are the recurring theme, and it’s really the screen presence of Samara Weaving (Hugo’s niece) and her interactions with Andy Garcia that provide a bit of interest here.

Premieres on Hulu beginning August 22, 2025

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Posted by David Ferguson

SHE RIDES SHOTGUN (2025)

August 1, 2025

Greetings again from the darkness. “A gritty thriller” is a frequently used description that, when heard or read, typically elicits red flags from this movie watcher. However, exceptions to the rule are welcome and writer-director Nick Rowland (CALM WITH HORSES, 2019) has delivered just that with this adaptation of Jordan Hopper’s 2017 novel. The screenplay is co-written by SUPER DARK TIMES (2017) collaborators Ben Collins and Luke Piotrowski.

Eleven-year-old Polly (a remarkable Ana Sophia Heger, “Life in Pieces”) is lounging in the park, waiting for her beloved mother to pick her up after school. The minutes roll by until the final teacher departs, leaving Polly with no way home. Polly’s observant and intense blue eyes follow a speeding car as it pulls up near her. She recognizes the father she hasn’t seen over the years he’s been in prison. He exerts pressure on her to get in the car, despite her reticence. Nathan (Taron Egerton, ROCKETMAN, 2019) has a buzzed head, a chiseled physique, and a tatted-up body. His appearance is unquestionably frightening to the young girl.

Polly notes the car is stolen and that Nathan is wearing her stepdad’s hoodie. When they check into a motel, we all assume she’s been kidnapped. As dad naps, Polly sees a TV news report depicting the murder of her mother, her own kidnapping, and the key suspect … dear old dad. There is plenty of familiar territory covered as the two go on the lam, trying to avoid the police and ‘Steel’, the Aryan faction that is seeking revenge on Nathan’s disloyal actions in prison. A “Green Light” (hit) has been issued for Nathan and his family, including Polly. It turns out Nathan is actually trying his best to protect her.

Cinematographer Wyatt Garfield (A DIFFERENT MAN, 2024) works wonders with the New Mexico landscape, as well as the intimate scenes that follow. We feel the tension and danger thanks to the camera work and the developing bond between Nathan and Polly. There’s the mandatory car chase scene and at least three shootouts, the last of which is quite impressive. We also get good cop versus bad cop. Crusading detective John Park (Rob Yang, THE MENU, 2022) wants nothing more than to shut down the local meth lab known as Slab Town, while corrupt and menacing Sheriff Houser (FARGO’s John Carroll Lynch playing against type) relishes his opportunities to torture and wield power.

Despite the familiar territory covered … and the similarity in style to the outstanding Taylor Sheridan film, HELL OR HIGH WATER (2016), there is plenty here to keep our attention and justify the ‘gritty thriller’ description. Redemption is often beyond reach for some, but the effort means a great deal.

Opens August 1, 2025

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Posted by David Ferguson

SALVABLE (2025)

July 15, 2025

Greetings again from the darkness. After reading the synopsis, I was tempted to pass on this one and move on to the next film on the list. What could possibly be appealing about another fading boxer whose life is in shambles? Co-directors Bjorn Franklin (also the screenwriter) and Johnny Marchetta are frequent collaborators on music videos, and this, their first feature film, is a solid action-melodrama with some moving parts that all (OK, mostly) come together. It also has a surprisingly effective lead performance.

Living in Wales, Sal (Toby Kebbell, “Servant”) is a past-his-prime boxer taking falls in the ring at night, while showing touching care in his day job at the local Nursing Home. Sal is getting by, but it’s clear he needs no sunglasses for his future. His teenage daughter, Molly (Kila Lord Cassidy) is holding on to anger towards him, while his ex-wife (Elaine Cassidy) mostly wishes he would just leave them alone. Matching the mostly joyless life Sal leads is the lighting and atmosphere created by the filmmakers … hometown looks like a place where smiles are rare.

Just as we are adjusting to Sal’s bleak existence and his misguided attempts to improve his lot through his job and slowly improving relationship with Molly, a bad influence pops up in the form of Vince (Shia LaBeouf). Sal and Vince were friends and boxing buddies in their younger days, and now, just out of prison, Vince wants to get the band back together for nefarious activities that can bring them some cash. And just like that, the melodrama of Sal’s struggling becomes a bit of a crime drama, where Vince infuses chaos and Sal makes more poor decisions.

Sal’s long-time trainer and mentor, old-timer Welly (James Cosmo) tries desperately to keep Sal on track and even scores him a real opportunity for redemption. Of course, we have come to know Sal as a man with the best intentions, but an inability to overcome the constant hurdles life puts in his way. Toby Kebbell delivers a truly touching performance as Sal, and his personal struggles are certainly the best part of the film. Shia LaBeouf adds heft as a guy we may initially misjudge, yet in this world happy endings are tougher to come by than victories in the ring.

Now available OnDemand and on Digital platforms

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Posted by David Ferguson

JURASSIC WORLD: REBIRTH (2025)

July 1, 2025

Greetings again from the darkness. It’s been 32 years since John Hammond “spared no expense” on ice cream and Chaos Theory Doctor Malcolm pleaded that the colorful jeep “must go faster”. That 1993 film by Steven Spielberg awed us and changed the course of cinema. Now director Gareth Edwards (ROGUE ONE: A STAR WARS STORY, 2016; GODZILLA, 2014) brings us the seventh film in the ‘Jurassic’ franchise. Having adapted Michael Crichton’s books for the first two in the series, renowned screenwriter David Koepp (who has also contributed to Mission: Impossible, Indiana Jones, and Spider-Man franchises, among others) returns for “Rebirth”.

Opening with a flashback to fifteen years prior, we see the InGen lab where experimental cross-breeding has resulted in dino-mutations, and we are only about four minutes in when we get the first dino snack (an unfortunate lab worker). Returning to modern day times (five years after the end of JURASSIC WORLD: DOMINION), we find a citizenry somehow bored with the dinosaurs that have been released into the wild – most of which have died or are dying due to environmental issues caused by us despicable humans. The exception is a remote island near the equator where the climate most resembles prehistoric times, and the beasts are free to roam … as it’s now a “No people allowed” sanctuary. It’s also a former InGen lab site.

This all sets the stage for greedy Big Pharma executive, Martin Krebs (Rupert Friend) to plan an excursion with the goal of collecting DNA from the three largest dino species from land, sea, and air. Oh, and minor detail – the DNA has to be collected from live specimens. The DNA can supposedly be used for major medical breakthroughs. Krebs hires Zora Bennett (Scarlett Johansson), a mercenary for “situational security and reaction”, and Dr Henry Loomis (Jonathan Bailey, WICKED, 2024) a paleontologist trained by the infamous Dr Grant. Zora assembles the rest of the team, including friend and boat captain Duncan Kincaid (Oscar winner Mahershala Ali), and the rest of his crew.

Separately, a family sailing the same waters is introduced. Reuben (Manuel Garcia-Rulfo) and his two daughters, college-aged Teresa (Luna Blaise) and clever 11-year-old Isabella (Audrina Miranda), along with Teresa’s lazy and spacey boyfriend Xavier (David Iacono). This secondary group provides us with ‘normal’ folks to fear for as their boat is dino-attacked, leaving them stranded in the sea, awaiting recovery by the pharma boat. This creates a strange mixture of folks and, most importantly, allows for the mandatory kid-in-peril. Another dino-attack on the boat separates the family from the team and begins the process of scratching characters from the story.

The adventures are quite different for the two groups, and the island scenery is consistently awe-inspiring. But we are all here for dinosaurs, and on that front, the film never disappoints. Very few gaps occur between sightings or attacks, and the dinosaurs dazzle. A slumbering by the river T-Rex provides one of the best chase/attack scenes from any of the Jurassic movies (with a tip of the raft to the Crichton novel). Of course, we know who the villain will be, and we know how things go for villains in these movies. The story includes an altruistic approach from Loomis, who flashes some survival instincts despite a career spent in an air-conditioned museum, rather than a dino-filled jungle.

We are left to ponder what the titular “Rebirth” refers to. The film doesn’t offer anything new, outside of the mutants … including the much-anticipated D-Rex (sporting the head of a Beluga whale?). Your individual level of critique will determine whether you buy Scarlett Johansson as the ultimate tough warrior, although John Mathieson’s stunning cinematography and composer Alexandre Desplat’s score (generously sprinkled with John Williams’ iconic JP score) are complementary to an overall entertaining and crowd-pleasing big-budget summer blockbuster, with many nods to the previous films in the franchise. Race cars and dinosaurs in the same summer … spared no expense.

Opens in theaters on July 2, 2025

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Posted by David Ferguson

F1: THE MOVIE (2025)

June 26, 2025

Greetings again from the darkness. I can’t explain why auto racing movies have always appealed to me. This dates back to such classics as GRAND PRIX (1966, with James Garner), WINNING (1969, with Paul Newman), and LE MANS (1971, with Steve McQueen). Toss in the more recent films like SENNA (2010), RUSH (2013), and FORD V FERRARI (2019), and that’s a lot of roaring engines and squealing tires on the track and the big screen. Writer-director Joseph Kosinski is no stranger to movies with stunning action and movement and speed as evidenced by his TOP GUN: MAVERICK (2022), OBLIVION (2013), and TRON LEGACY (2010). Kosinski co-wrote the story here with Ehren Kruger, his screenwriter from that high-flying 2022 gem.

Led Zeppelin’s “Whole Lotta Love” blasts through the IMAX sound system as we are introduced to brash driver Sonny Hayes (Oscar winner Brad Pitt, ONCE UPON A TIME … IN HOLLYWOOD, 2019) during 24 Hours at Daytona. We learn quickly that Sonny marches to his own drummer and is a bit of a loner living and traveling in his van. When Ruben (Oscar winner Javier Bardem, NO COUNTRY FOR OLD MEN, 2007), his long-ago friend and one-time racing rival, shows up to offer him a seat for the Formula One team he now owns, Sonny politely declines, despite his friend’s financial struggle and desperate need to win a race or risk losing his team. Of course, we know Sonny will show up.

Sonny discovers that the other driver on the team is an arrogant and talented rookie named Joshua Pearce (Damson Idris, “Snowfall”). Pearce represents a certain generation with arrogance and entitlement beyond his actual success (along with a supportive mama, Sarah Niles, “Ted Lasso”). He certainly wants nothing to do with an ‘old man’ who hasn’t driven F1 in decades. The two polar opposite drivers provide the conflict in the film, but it’s Sonny’s backstory that makes things click. As an immensely talented young driver, his dreams and expectations came crashing down, leaving him a broken man with no home – other than his life as a gypsy driver bounding from one racetrack to the next.

If you’ve seen BULL DURHAM (1998) or THE COLOR OF MONEY (1996), you know how it goes when the grizzled veteran mentors the cocky (and talented) newcomer. It’s a rough start and slowly the two begin to work as teammates. Sonny’s sixth sense on the track stems from knowledge and experience. His swagger initially rubs former aerospace-engineer-turned-car-designer, Kate (Kerry Condon, THE BANSHEES OF INISHERIN, 2022), the wrong way, but of course anyone who has ever seen a movie knows where they are headed.

As with everything these days, especially when big money is at stake, politics and power play a huge role. This time it’s sleazy investor Peter Banning (Tobias Menzies, YOU HURT MY FEELINGS, 2023) who provides the ugly underbelly of greed and corruption. Still, none of that much matters … same with the dialogue that often veers into pure cheesiness. What matters is that the race scenes are exhilarating … the best we’ve ever seen on screen (and make that an IMAX screen if possible – for both sight and sound). Cinematographer Claudio Miranda won an Oscar for LIFE OF PI (2011), and I’m guessing the filming during actual Formula One events proved even more challenging than that one. Definitely deserving of attention are co-editors Stephen Mirrione (Oscar winner, TRAFFIC, 2000) and Patrick J Smith, as well as the entire Sound team. I’ll admit it’s not my favorite Hans Zimmer score, and I’m certain that neither he nor his two Oscars care about my thoughts on the matter.

As an actor, Brad Pitt no longer survives simply by existing – he actually emotes (and does so quite well). He’s a big movie star in a BIG movie that strives to wow viewers. The mystery is how many will be drawn to the theaters for fast cars. For those that do, this one delivers.  On the other hand, if TALLADEGA NIGHTS (2006) or Pixar’s CARS franchise is more your speed, well there’s no shame in that.

Opening in theaters nationwide on June 27, 2025 followed by streaming on AppleTV+

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Posted by David Ferguson

MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025)

May 26, 2025

Greetings again from the darkness. The eighth and (supposedly) final entry in a fantastic action film franchise that began in 1996 may not be the best of the bunch, yet it’s a mostly satisfying farewell to Ethan Hunt and his team of world-savers. Making his fourth stint as a writer-director for the latest “MI”, Oscar winner Christopher McQuarrie blends new danger and stunning action sequences with admirable (if not a few too many) tributes and nods to the past films and characters (including villains).

Of course, none of this would be possible without the freak-of-nature we know as Tom Cruise. Something I’ve said and written many times before – Mr. Cruise was not only born to play the role of Ethan Hunt, through the years he has definitively made it his own. What has allowed most of these films to work is a combination of thrilling escapades required to prevent a catastrophe, and the tongue-in-cheek tone designed to let the audience off the hook in recognizing the audacity of the whole thing. Unfortunately, this one omits the clever banter and instead goes with a couple of wise cracks that lack the effect.

For anyone who is a bit concerned about the future impact of Artificial Intelligence, “The Entity” is the real villain in this one, and it’s likely to spook you a bit more about the unknown and untapped power. Although Esai Morales returns as bad guy Gabriel, the true danger of global destruction comes courtesy of AI and its ability to take over control of all nuclear weapons on the planet. Only Ethan Hunt (should he choose to accept) and his team can stop this from happening, and if they do, it’s very likely those heroics will be last-second and towards the end of the 169-minute runtime … and after numerous action sequences that leave us breathless.

There are two truly stunning action/stunt sequences that feature Cruise at his most daring and a filmmaking team at its most technically advanced. The second of the two sequences, and the one getting the most attention is the aerial battle between two vibrantly-colored vintage biplanes. Now that description would be cool enough for most movies, but not for this franchise and certainly not for Cruise. Here, he climbs around the wing as one plane is airborne so he can take over the pilot’s seat. Again, that would be an incredible feat for anyone, but it barely scratches an itch for this guy. Instead, he then makes his way from one airborne plane to other airborne plane so that he can then fight THAT pilot (Gabriel) … and he must do so while executing another task that is required to save the world.

Yes, that aerial sequence is breathtaking and deserves accolades, yet it’s the ‘other’ huge action sequence that left me wide-eyed and clutching the armrests. Watching Ethan Hunt deep dive into frigid ocean waters to a long-ago sunken submarine, and then navigating his way through the giant metal tube as it tumbles on the sea floor is nothing short of astonishing and jaw-dropping. It’s fantastic to watch and unlike anything previously seen on screen – including other submarine movies or underwater scenes.

In addition to Cruise and Morales, other returning players include Haylee Atwell as Grace, Simon Pegg as Benji, Pom Klementieff as Paris (an amazing character), and Henry Czerny as Kittiridge. Also returning is Ving Rhames as Luther … he and Cruise are the only two to appear in all eight MI films. Additions to the superb cast are Angela Bassett as the President, as well as Holt McCallamy, Janet McTeer, Nick Offerman, Shea Whigham, Greg Tarzan Davis, Tramell Tillman, and Hannah Waddingham. There is also a significant surprise appearance by another returner – one that I won’t spoil here. The final scene in Trafalgar Square comes across a bit corny, but let’s say they’ve earned the right.

Cruise’s courage and brilliance as Ethan Hunt are noted, while McQuarrie clearly has a love for the mission; and yet, we need to acknowledge the technical expertise brought by many, especially cinematographer Fraser Taggart and editor Eddie Hamilton. While this final entry might not be tops for the franchise, it’s yet another expertly crafted big budget film that delivers the thrills its audience expects. And for the price of a ticket, those two colossal action sequences combine with Lalo Schifrin’s timeless (and blood-pumping) theme song are tough to beat … make that impossible.

Playing nationwide in theaters

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Posted by David Ferguson

FOUNTAIN OF YOUTH (2025)

May 22, 2025

Greetings again from the darkness. A filmmaker takes a risk by opening a movie with a frenetic and extended chase scene. This approach tends to announce that the action is more important than the story or characters … a message most filmmakers prefer not to convey. With his track record including SNATCH (2000) and LOCK, STOCK, AND TWO SMOKING BARRELS (1998), I tend to give the benefit of doubt to every new Guy Ritchie-directed project. Most offer some heft and creativity, yet the disappointments are often amplified due to expectations. Working from a screenplay by James Vanderbilt, this one strives to be a blend of NATIONAL TREASURE and Indiana Jones, with Thor and Loki banter.

The opening chase scene here sets the stage for what this movie is … one long chase. It seems everyone is always chasing what Luke Purdue (John Krasinski, A QUIET PLACE, 2018) is after – whether that’s a particular Rembrandt painting or the mythical Fountain of Youth associated with explorer Ponce de Leon (though the legend dates back centuries more). For most of the movie, Luke and his team are being chased by an Asian gangster, a committed mercenary, and an agent from Interpol. Rather than the traditional meet-cute, we get a reconciliation of estranged siblings. Luke’s sister Charlotte (Oscar winner Natalie Portman, BLACK SWAN, 2010) is a museum curator and both were trained by their since-deceased archaeologist father.

Luke is the adventurous one in the mold of Indiana Jones, whereas Charlotte tries her best to live a safe life with her musical prodigy son – despite the in-process split with her husband. Many of the scenes are based on the contrast (and corresponding similarities) of this brother-sister duo. Esme (Eiza Gonzalez, BABY DRIVER, 2017) is the mysterious woman hot on Luke’s trail, while Inspector Abbas (Arian Moayed, “Succession”) is the Interpol agent who’s been tracking the art thefts for a long time. Luke’s crew includes Deb (Carmen Ejogo, SELMA, 2014) and Murphy (Laz Alonso, “The Boys”), and the quest is funded by billionaire Owen Carver (Domhnall Gleeson, General Hux in the Star Wars universe), who claims to be seeking the healing powers of the Fountain of Youth due to his terminal cancer.

There is an interesting early sequence that finds Luke and Charlotte scrounging for a lost painting aboard the sunken Lusitania. What makes this interesting is that Alfred G Vanderbilt did actually die in 1915 when the ship went down, and the screenplay for this film is written by his great grandson, James Vanderbilt. Unfortunately, it’s that screenplay that is a constant drag on the film. The dialogue is too often cringy while trying desperately to be clever and funny. Krasinski and Portman seem to realize this and overact while attempting to salvage some scenes. For mindless entertainment, there is certainly a place for adventure films with settings as breathtaking as the Austrian National Library and the Pyramids of Giza, yet it’s a shame that a more thoughtful and intelligent story wasn’t delivered.

The film will premiere globally on Apple TV+ on Friday, May 23, 2025

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Posted by David Ferguson

THE ACCOUNTANT 2 (2025)

April 24, 2025

Greetings again from the darkness. As disappointing as most sequels are, there is a glimmer of hope when the original creative team and key cast members return. Such is the case with this sequel to the 2016 film, THE ACCOUNTANT (yes, it’s been nearly a decade). Director Gavin O’Connor and writer Bill Dubuque are back, and both have skins on the wall. O’Connor also directed MIRACLE (2004) and the criminally underrated WARRIOR (2011), while Dubuque was the creator of the hit series “Ozark”.

Two-time Oscar winner Ben Affleck returns as the brilliant and autistic accountant known as Christian Wolff (as well as a few other names). In what may be the least amount of screen time ever afforded a previous Oscar winner, JK Simmons’ Ray King – former director of FinCEN is assassinated, and his former protégé MaryBeth Medina (a returning Cynthia Asdai-Robinson) tracks down Christian to help solve the case. But, of course, things are never that easy, and they also find themselves knee deep in another case – one that hits mighty close to real world headlines with human trafficking and gang activity.

Christian contacts his lethal-weapon brother … yep, for the first time since the end of the first film … and Braxton (Jon Bernthal) reluctantly agrees to join the hunt. The two brothers interact in a manner we’re familiar with from all the ‘mismatched buddy films’ over the years, and Affleck and especially Bernthal excel at this, although it’s impossible not to note Affleck’s too-frequent smirks this time around. An early speed-dating sequence feels totally forced and out-of-place, and one can only assume it’s included for anyone who didn’t watch the first movie (which I highly recommend prior to viewing this one).

As good as the brother banter plays, the mish-mashed stories, lack of central villain, and over abundance of action sequences, turn this into a film trying too hard to please all audiences. Toss in extended segments featuring the autistic techno geniuses at Harbor Neuroscience Academy, and a description of Acquired Savant Syndrome, and the best advice is to just sit back and watch after turning off your own plot-solving brain cells. Christian has developed and funded the group of young geniuses at the Academy, and they are led by non-verbal Justine (played by Allison Robertson, and computer-voiced by Alison Wright of “The Americans”). The missing persons case centers around highly-trained assassin Anais (Daniella Pineda from the Jurassic World franchise), and we can’t help but think she could hold her own as a story and character.

The abundance of comedic elements might surprise fans of the first film, as might the war zone style shootout during the film’s climax and the overly-animated Affleck – all extremes when compared to the original, yet Affleck and Bernthal make the brotherly thing work

Opens in theaters on April 25, 2025

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Posted by David Ferguson

FREAKY TALES (2025)

April 4, 2025

Greetings again from the darkness. While I’m unsure whether this qualifies as a tetraology, this oddball and zany film consists of four separate yet interrelated stories with crossover characters.  Previous collaborations from the film’s co-writers and co-directors, Anna Boden and Ryan Fleck, include CAPTAIN MARVEL (2019), the underrated IT’S KIND OF A FUNNY STORY (2010), and SUGAR (2008).

It’s 1987 and the audience for a just-ended movie is making its way outside the Grand Lake Theater in “hella wild” Oakland, California. A truck full of neo-Nazis spew vile at the patrons as they cruise by. Best friends Lucid (Jack Champion, RETRIBUTION) and Tina (Ji-young Yoo, “ExPats”) make their way to The Gilman for some live music. There is an unrequited love connection between the two friends as the jam, but things turn violent when the neo-Nazis show up. Punks vs Nazi bullies goes full bore.

In Chapter Two, Dominique Thorne and Nomani make up the group Danger Zone, and as they leave the previously mentioned movie, they are verbally abused by the Nazis and recognized by someone who invites them to Rap Battle the great Too $hort. It’s in this segment where Ben Mendelsohn identifies himself as a cop … and the Rap Battle features some blistering lyrics.

The next chapter finds Pedro Pascal’s Clint as the collections muscle behind a crime lord, and as his pregnant wife waits in the car, Clint has a hilarious interaction with Hank, a video store manager played by Oscar winner Tom Hanks. Hank peppers Clint with movie trivia questions, despite Pascal being there for a completely different reason.

Throughout the story, there are references to the local NBA team, the Warriors, and their playoff series against the hated Lakers. Local legend “Sleepy” Floyd is mentioned, and the final chapter pretty much belongs to Sleepy (played by Jay Ellis) and Ben Mendelsohn. Angus Cloud (“Euphoria”) passed away in 2023 and he excels in his scenes with Mendelsohn. Sleepy Floyd goes off on a mystical rampage of revenge and it’s a visually volent treat.

If you are the type of movie goer seeking nuance … this ain’t the place. The filmmakers play homage to 1980’s genre films like REPO MAN (replete with neon green eye glow), while PULP FICTION is another obvious influence (Chapter 4 resembles KILL BILL a few times). Raphael Saddiq’s score is a nice complement, and you’ll note cameos from Keir Gilchrist, Marshawn Lynch (driving a bus), Too $hort, and the real Sleepy Floyd. Unfortunately we are never given instructions on how to register for “Sleepy’s Mind Wide Awake” seminar. A grain of salt is included.

Opens April 4, 2025

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Posted by David Ferguson

NOVOCAINE (2025)

March 13, 2025

Greetings again from the darkness. In decades past, we wouldn’t have been surprised in the least to see a movie starring Jack Nicholson and Dennis Quaid. In fact, in 1973 Jack co-starred with Dennis’ brother Randy in one of my favorite films, THE LAST DETAIL. Well, here we are more than fifty years later, and Dennis’ (and Meg Ryan’s) son Jack Quaid is co-starring with Jack’s son Ray Nicholson in what is sure to be one of this year’s most outlandish action-comedies.  The screenplay is by Lars Jacobson and the film is co-directed by Dan Berk and Robert Olsen, who also collaborated on BODY (2015).

REM’s “Everybody Hurts” plays over the opening credits and sequence which provide hints to the measures Nathan Caine (Jack Quaid, COMPANION, 2025) has taken around his house. With tennis balls shielding sharp corners and a stop to prevent scalding water in the shower, Nathan appears to be quite accident-prone. We learn he’s a good-guy Assistant Manager at a local San Diego bank, and profiles as nebbish in his looks and skittish mannerisms … especially around new bank teller Sherry (Amber Midthunder, THE ICE ROAD, 2021). Sensing his awkwardness and attraction, Sherry takes charge and asks Nathan to lunch. A bite of cherry pie leads Nathan to disclose his rare genetic disorder – he simply cannot feel pain (thus explaining the earlier tennis balls).

One personal disclosure leads to another, which leads to an art gallery, which leads to romantic intimacy and what easily could spin off into a familiar quirky rom-com with these two. Instead, while Nathan is riding an emotional high, three men dressed as Santa Claus violently rob the bank on Christmas Eve and take Nathan’s new squeeze Sherry as hostage. This sends our wimpy superhero Nathan (nicknamed Novocaine by junior high bullies) on a rescue mission. His previous fighting experience has been limited to online video game sessions with Roscoe (Jacob Batalon, Ned from Marvel movies), although the two have never actually met.

The fight sequences are quite violent and absurdly comical in how they take advantage of Nathan’s blend of physical disorder, nice guy tendencies, and commitment to rescuing his first love. Creativity is at maximum volume as Nathan takes on a red-hot frying pan and boiling oil in a restaurant kitchen skirmish, replete with bodily poundings that would leave anyone else shattered. Things really pick up in a wickedly booby-trapped house that sets up a HOME ALONE joke. Mostly, however, the body horror serves as punchline after punchline … some surely to tweak even the most squeamish movie goers.

Ray Nicholson (I LOVE YOU FOREVER, 2024) provides a jolt of adrenaline and psychotic violent behavior to ensure no one watching still believes this is a rom-com in the making. His Simon thrives not so much on the money from the robberies as the power and control he displays and the torture he doles out. The finale battles between Simon and Nathan are extreme and creatively unique. While the entertainment value is present, there are still some minor issues with the story and proceedings. The detectives on the case are played by Betty Gabriel (GET OUT, 2017) and Matt Walsh (“Veep”). These two talented actors are given very little to do and it’s a shame their roles weren’t beefed up a bit. Additionally, there is a key twist that will surprise almost no one. Is it even a twist if they tell you it’s coming?

The action scenes are purposefully absurd, and although some bits are over-the-top, others are pure comedy-action brilliance. Jack Quaid is fitting right in to his lead character roles, and Ray Nicholson is mastering the wild-eyed psycho dude. Amber Midthunder shows yet again how immensely talented she is, and it’s likely her future roles will take advantage of what she brings on screen. My personal biggest hope is that the filmmakers avoid a sequel … one which would likely leave us viewers disappointingly numb (had to work in one pun).

Opens in theaters on March 14, 2025

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Posted by David Ferguson

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