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

WATCH THE TRAILER

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Posted by David Ferguson

THE GOOD HALF (2024)

August 15, 2024

Greetings again from the darkness. Losing a parent is a difficult time that most of us will deal with at some point. Sorrow and guilt and anger are typically part of the grieving process, and that’s precisely what writer Brett Ryland and director Robert Schwartzmann (THE ARGUMENT, 2020) show us. For those who have been through it already, it’s likely to bring back emotions that will always be there, and for those who haven’t experienced this yet, it serves as a cautionary tale.

The film opens with a mother (Elisabeth Shue) trying to make peace with her angry young son (Mason Cufari). It turns out mom absent-mindedly left the boy at the store, and it takes a ‘pinky promise’ that “I’ll never leave you again” from mom to win the boy back. Of course, as avid movie lovers, we know this means mom will in fact leave the boy again at some point.

The film then jumps ahead 15 plus years, as that young boy Renn has grown up (now played by Nick Jonas) and is on a flight from Los Angeles back home to Cleveland for his mother’s funeral. While flirting over the sleeping dude in the middle seat, Renn and Zoey (Alexandra Shipp, BARBIE, 2023) bond a bit, and even exchange numbers. She’s therapist in town for a conference, and he coyly avoids telling her the real reason he’s home.

Once home, it’s clear an agitated and barely-speaking Renn is holding back emotions, and so is his sister Leigh (Brittany Snow, PITCH PERFECT franchise). Their kinda goofy dad (Matt Walsh, “Veep”) awkwardly tries to make the best of things, despite the strain between his son and daughter. Leigh is a bit miffed at Renn for leaving her alone to take care of their cancer-stricken mom, and Renn is carrying the guilt and shame of not being there, as well as the anger of having mom leave him. However, the two can share their similar feelings of disgust towards stepdad Rick (perfect villain, David Arquette), whom we also find very easy to dislike. Their casket shopping experience is a terrific scene and gives Renn a chance to open up a bit with sarcasm.

Renn escapes the pressure a couple of times by meeting Zoey for drinks … even karaoke, where Jonas sings the Modern English classic, “I Melt with You”. Jonas and Ms. Shipp have good chemistry, and that goes for Jonas and Ms. Snow, as well. In fact, Jonas delivers a strong enough performance that we feel tense when he finally unloads his pent-up emotions, and he’s able to juggle the mixture of comedy and grief and family drama. Everyone grieves in their own way, and it’s always painful. The film’s best line, “happy or not, it’s family”, is one many can relate to, and there is also a bit of advice: sometimes … take the long way.

In theaters August 16, 2024

WATCH THE TRAILER

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Posted by David Ferguson

BRIGSBY BEAR (2017)

August 10, 2017

 Greetings again from the darkness. Many kids get obsessed with their favorite TV show and characters. Perhaps it’s Minnie Mouse, Sesame Street or even Teenage Mutant Ninja Turtles. Whatever or whomever it is, they typically enjoy sharing their experiences with their friends. When we first meet James, he is staring, fully-engaged, at an odd, poorly produced show that appears to be a relic from the 1970’s. His room is packed with franchised merchandise like a bedspread, a lamp, toys, and even a stuffed animal. We immediately notice two problems: we don’t recognize this talking TV bear and James appears to be not a child, but a twenty-something with a 3 day beard growth.

Kyle Mooney has gained a following with his work (especially his quirky short films) on “Saturday Night Live”. Here he collaborates with director Dave McCrary (another SNL stalwart) and co-writer Kevin Costello on their first feature film. Mr. Mooney also stars as James, the “Brigsby Bear” expert who was kidnapped as an infant, held captive in a desert bunker and brainwashed by his captor “parents” Ted and April (an excellent Mark Hamill, Jane Adams).

Being confined and isolated in a controlled environment with only artificial culture in no way prepares James for the long-delayed release back into the wild known as society. His biological parents Greg and Louise (Matt Walsh, Michaela Watkins) are thrilled to reunite with their long lost son, and very patient with James’ struggles to assimilate.

James is unceremoniously dumped into the real world without his one security blanket: a TV bear that doesn’t exist. He goes from being disconnected from the outside world to being disconnected inside a new world he doesn’t know or recognize. Despite the pressures he is up against (police, family, new friends), he refuses to let go of his obsession.

It’s at this point where we really root for Mooney and McCrary to embrace the weirdness. Instead, the story takes a bit of a conventional turn and we find ourselves no longer reveling in oddity, but instead cheering for James to continue influencing those who initially viewed him as the proverbial fish out of water. The film ends up as a creative story about creativity … if that’s what it’s about (or if it’s about anything).

Strong supporting work is provided by Greg Kinnear as Detective Vogel (with a secret passion), Ryan Simpkins (sister of Ty) as James’ somewhat reluctant sister, and Alexa Demie and Jorge Lendeborg Jr as the new friends who come to appreciate him for his perspective. Claire Danes is a misguided psychiatrist, Buck Bennett is a detective, Andy Samburg appears an acquaintance, and Kate Lyn Scheil is Arielle (and Nora).

The film can best be described as Funny-Sad, and a blend of ROOM (isolated and held captive), NAPOLEON DYNAMITE (a quirky dude), BEING THERE (an innocence that influences others), and ENCINO MAN (a guy being introduced to a new world). It has an emotional and heartfelt climax that is crowd-pleasing, and certainly deserves bonus points for not being a superhero movie, remake, sequel or reboot. Still, it leaves us wondering what direction this could have gone had the filmmakers remained true to the cause of embracing the weirdness.

watch the trailer:

 

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Posted by David Ferguson

KEEPING UP WITH THE JONESES (2016)

October 20, 2016

keeping-up-with-the-joneses Greetings again from the darkness. Dozens of movies through the years make up the Spy Action-Comedy segment. Most of these lean heavily on either action (Mr. and Mrs. Smith, Red, Knight and Day) or comedy (Austin Powers, Get Smart, Date Night). The latest entry from director Greg Mottola and writer Michael LeSieur offers a more balanced approach while being somewhat grounded in familiar suburbia. Perfect casting certainly helps.

Comedies are the toughest genre to review because the only thing that matters … does it cause you to laugh? … depends on the sense of humor of each viewer and even their frame of mind while watching. So what I can report is that the full theatre at my screening was filled with enthusiastic laughter multiple times, along with a pretty steady stream of chuckles and giggling. This will undoubtedly vary from the accounts of uppity film critics who will discount the basic plot and obvious laughs (which is the whole point).

A James Bond-type opening credit sequence sets the tone as we abruptly shift to watching Jeff and Karen Gaffney (Zach Galifianakis, Isla Fisher) sending off their two sons to summer camp before returning home to their idealistic cul-de-sac suburban home. Things pick up when the new neighbors, Tim and Natalie Jones, arrive … a seemingly perfect couple played by Jon Hamm and Gal Gadot. They are the type of couple who are beautiful to look at, stylishly dressed, and even show up with a blown-glass sculpture as a gift for their new neighbors.

Of course, this perfect couple is really married spies seeking information from the military weapons contractor where Jeff works as a Human Resources associate. It’s Karen who senses something is off about the perfect couple, which leads to her stalking Natalie all the way to a dressing room where she is comically intimidated by Wonder Woman in black lingerie. On a side note, Ms. Fisher does have a later sequence where she proves to be anything but a homely housewife, despite how that dressing room scene is presented.

The men head off for some male bonding – at a highly unusual specialty restaurant, leading to one of the more manic sequences in the movie. The four leads are all excellent, but it’s Gal Gadot who is the real surprise … and her scenes with Ms. Fisher are the film’s best. Both are allowed to shine, while the men are a bit more one dimensional. Galifianakis is the all-trusting good guy just happy to have some excitement in his life, while Hamm is the super cool spy (who wishes he wasn’t). Both men seem to enjoy the chance to make friends, while the women are a bit more focused on tasks at hand.

Director Mottola is known for his films Adventureland and Superbad, and writer LeSieur is best known for Me, You and Dupree. The impressive thing about this latest is that the comedy mostly derives from character and situational interactions, and the expected steady stream of punchlines never materializes. There is even some insight into marriages that have become a bit too predictable, and the challenges of making new friends when all available energy is devoted to parenting and making ends meet.

In addition to the four leads, there are some funny moments for Maribeth Monroe, Matt Walsh and Kevin Dunn. The brilliant Patton Oswalt is cast as the self-nicknamed villain, and is responsible for one of the film’s biggest laughs.

Of course, this is not subtle or high-brow humor, and the story line is predictable throughout. The laughs stem from the contrast of a subdued, comfy suburban life versus the sophisticated, over-accomplished jet-setting couple … laughs clearly enhanced by the talented leads. So while this seems like the kind of movie I would usually ignore, perhaps it arrives at a time when laughing is simply preferable to the daily grind of an embarrassing and humiliating Presidential race. So go ahead and give laughter a chance … it works even better than a stress ball.

watch the trailer:

 

 

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Posted by David Ferguson