Displaying items by tag: Jack Quaid

NOVOCAINE

US, 2025, 110 minutes, Colour.

Jack Quaid, Amber Midthunder, Ray Nicholson, Jacob Batalon, Betty Gabriel, Matt Walsh, Conrad Kemp, Evan Hengst, Lou Beatty Jr.

Directed by Dan Berk, Robert Olsen.

Most definitely not what we might have been expecting, not even during the first 20 minutes or so of romantic comedy – and audiences, perhaps, wondering about sitting through 90 more minutes of this.

And then, it changes, 90° or more and it keeps changing in plot, twists and angles, then more and more angles.

If this sounds intriguing, and you are tempted to see Novocaine, read no more because there are many indications of spoilers – and more spoilers.

Actually, after the romance, it was something of a relief when three Santa Clauses turn when at the San Diego bank Nate, our hero to be, is assistant manager. They are robbers, a very brutal heist, grim deaths and the police.

Then the rest of the film is an action show (lots) and violence (Jason Statham could pick up a tip or 3).  And, perhaps, there will be some embarrassment for members of the audience realise that they are enjoying it all. There are chases and deaths, fights and torture, and just when it seems to end, it continues, more ends and continuations, a succession of possible endings…

What makes it believable (while on screen anyway) is the premise that the hero, Nathan Caine, played with some charm by Jack Quaid (son of Dennis Quaid and Meg Ryan, who was able to show his villainous side in the arresting thriller, Companion) suffers from a lifelong condition which means that he can feel no pain – hence the schoolboy nickname from bullies for him, Novocaine.

But, while Nate is a meek bank assistant with a kind heart for customers in need, he is also a loner, then challenged by love to turn into a kind of battered (but no pain felt) superhero, rescuer, naive but ingenious, ready to risk everything for his attractive fellow-worker, Jessie (Amber Midthunder). And he has an enjoyable friend, Roscoe, Jacob Batalon, his online computer games partner. And some twists here as well with Jesse and Roscoe.

And the smilingly sneering, psychopathic villain is Ray Nicholson, son of Jack, showing some influences from Jack’s performance in The Shining.)

For some audiences, the graphic violence is too much. But, this reviewer along with others, despite the violence and the zany unexpected aspects of the scenario were enjoyable, even if that it is a bit embarrassing to admit.

1. The title and expectations, to feel no pain, the nickname for Nate?
2. The tone of the film, the romantic comedy opening, the change with the bank robbery and deaths, and abduction, Nate and his pursuit, the confrontations, the kitchen, deaths? The police suspecting him? The tattoo parlour, the house, booby-trapped, confrontations? The revelation about Jessie? The continued twists?
3. The visual violence, gratuitous, in the context of comedy? Differing audience sensitivities?
4. Nate, his story, illness, feeling no pain, secluded childhood, bullying, the nickname, time alone, reading his many books, not dating, working in the bank, his sympathetic attitudes towards customers? The speech of the manager and his support? The attraction to Jessie?
5. Jessie, working the bank, her eyeing Nate, his focus on her, the awkwardness of the spilled coffee, no pain, her apology, the invitation to lunch, his explanations of himself, unable to chew, the time and blend of relief? Going home, the further invitation, playing computer games with Roscoe, decision to go out, at the bar, his old friend and the nickname, flirting with Jessie, his reaction, her setting up the friend with the hot drink, at home, the sexual encounter, the effect on him?
6. The change of tone with the bank robbery, Santa Claus, psychopathic leader, the killing of the manager, taking Jessie, Nate giving the code, the police, the machine guns of the deaths, Nate helping the injured officer with his belt, taking the car, in pursuit?
7. The change in Nate’s action, not feeling the pain, his being shot, the various injuries, going to his old friend and the removal of the bullet, gluing the wound, and giving him the money?
8. The pursuit of the brother, the dead ends, the kitchen, the frying pans, the staff identify him to the police? The officers, their personalities, the lax assistant? The theories, criminal possibilities for Nate, or innocent?
9. The pursuit, the crashes, the kitchen, frying pans, the death?
10. The photo of the tattoo, his ringing Roscoe to get the information, the tattooist, the interchange, the fight, the torture, the information?
11. Going to the house, the scenes with the brothers and Simon, his psychopathic leadership, Ben not arriving, the revelation about Jessie, her past, her pan a place in the plot?
12. The booby-trapped house, various injuries to Nate, hanging upside down, phoning Roscoe, Roscoe arriving, the patter between them, Andre arriving, the confrontations, his death?
13. The police arriving, Roscoe,and his escape, giving the information, the police going to the garage? the police, the death of the partner, the leader wounded,
14. Simon, the relationship with Jessie, her wanting to back out? The effect of the relationship with Nate? His arrival, the fighting, the shooting? The police, shooting Simon, Nate to the hospital in the ambulance, the irony of Simon, surviving, driving? And the battle within the ambulance?
15. The finale, Jessie, the confrontation with Simon?
16. One year later, Jessie in prison, Nate playing games with Roscoe and their friendship, his visiting Jessie in prison? The future?
17. The combined effect of romantic comedy, farcical comedy, crime and psychopathic criminals, and the graphic presentation of torture? The combination of gratuitous and enjoyable?

COMPANION

US, 2025, 97 minutes, Colour.

Sophie Thatcher, Jack Quaid, Lucas Gage, Megan Suri, Harvey Guillen, Rupert Friend, Mark Mancaka.

Directed by Drew Hancock.

At the end of watching Companion, this reviewer was very happy to have had no knowledge at all of what the film was about or what it was like. And, checking on the number of reviews as well as strong opinions from bloggers, most were pleased that they went in to see Companion cold and found it an engrossing and unexpected experience.

Which, possibly, is where a review of Companion should end. But, it is probably fair to say that in the first few minutes, we are introduced to a very interesting character, Iris, played by Sophie Thatcher (Heretic, Yellowjacket) in a supermarket romantic comic episode involving the collapsing of the oranges shelf, then a startling remark by Iris, the introduction of the tall handsome, Josh, Jack Quaid. Then, off we go…

Sophie Thatcher is very effective in keeping pace with the various facets of her character.

One all the best aspects of Companion is that we do not know where the film is leading. And, there are quite a number of surprises in the screenplay, some misleading, some turns, some twists as the plot unrolls, unravels. And, we are not really sure until the final credits.

There are some good roles from the supporting cast, especially Lucas Gage and Harvey Guillen, sometimes comic, sometimes serious, and nasty Russian businessmen played by Rupert Friend in heavy moustachioed disguise.

In fact, there is quite a lot to think about as we watch Companion.

And, compliments to writer-director, Drew Hancock, who keeps control of his screenplay as well as of the responses of the audience.

1. The title, the focus on Iris, her relationship with Josh, the revelation that she was a robot, her construction, the instructions for her behaviour, companion, sexual partner? The ironies of the complications and the confrontations?
2. The American setting, the opening in the supermarket, the apartment, out in the open road, the scenery, the forests? The holiday house and the interiors? The chases through the forest? The musical score?
3. The romantic comedy tone of the opening, Iris, shopping, doll -like, Josh, the encounter with the fallen oranges, iris voice-over, the attraction, and the intimation that she would kill Josh?
4. The situation, driving to the house, Sergey and his Russian background, the owner, luxury? The presence of Kat and her surly attitudes? Patrick and Eli and the relationship? Sociable, the pool, her assent, her clothes, the drinking, the dancing? The morning after? Josh urging Iris to go out to the pool, meeting Sergey? His approach, her warning him off, her having the knife, killing him? And the audience gradually realising that this was the setup?
5. The revelation of the project, Josh and Kat, the company, the robots, the specifications, the plan to rob Sergey, the murder, using Eli? And the revelation that Patrick was also a robot?
6. Audience response to Iris, her personality, her robot personality, her love for Josh, unable to lie, the background of the company, the interviews, Sid and Teddy and the later interventions?
7. Josh, the revelation, his personality, greed, his inferiority, motivations, Kat and her personality and motivations? The emotional complications, Eli and Patrick and their contribution?
8. Iris, the situation, her being able to be turned on and off, yet the innate shrewdness of the programming, the confrontations, the drama in the house, her escape, the pursuit through the forests, the hiding, eluding the pursuers?
9. The pursuit, Josh in the forest, and Patrick, being able to turn Patrick on and off, Josh and the reprogramming of Patrick? Patrick as a vengeful robot, Eli and his being shot, the final relationship with Patrick?
10. The complications and the pursuit, iris using her wits, the return to the house, the contact with the company, bringing the replacement, Teddy and the pursuit?
11. The transition from science-fiction to the slasher mode, the role of Patrick, his different personality, manipulated, vengeful? And the final confrontation with Josh and his defeat?
12. Audiences enjoying the thriller, slasher aspects? The interest in the science fiction themes, robotics, programming, and the focus on self-indulgent men, their inadequacies, needing programmed robots for their satisfaction and gratification? And the defeat by female ingenuity, and by the programming?