
Novocaine
A painless viewing experience
When the new love (Amber Midthunder) of a mild-mannered
bank assistant manager (Jack Quaid) is kidnapped, he brushes off
his 'superpower' and leaps to the rescue. You see, he suffers from
something called congenital analgesia (a real thing), preventing
him from feeling any sort of pain.
I had fun with this slapstick romantic actioner, but it's far from
perfect. You can't say the directors, Dan Berk & Robert Olsen,
haven't explored every possible aspect of an unfeeling action
hero, and the earlier, rom-com scenes are above average and
charming. (Fun fact: If Jack's goofy grin and infectious
cheerfulness seem familiar, it's because he's the son of none other
than Dennis Quaid and Meg Ryan.) On the whole, it's surprisingly
relatable and deeper than you may think.
But the latter, admittedly inventive action and fight scenes get
unnecessarily violent and gory. The directing duo's previous work
(Significant Other, Villains, Body) are all in the cheapo horror
genre. The third act drags on forever, and the villains are not all
that threatening.
I wouldn't mind if this turned out to be an origin story. I'd watch a
sequel before most big-budget Marvel flicks. But the directors
need to leave the gore behind and grow up a bit. (110 min)

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Japan Today
3 days ago
- Japan Today
Kristin Scott Thomas directs Scarlett Johansson in comedic drama 'My Mother's Wedding'
movie review By LINDSEY BAHR Before Kristin Scott Thomas turned 12, she lost her father and stepfather. Both were Royal Navy pilots who died in crashes. The first happened when she was 5. The second at age 11. Thomas uses these facts, a kind of origin story, as the basis for her directorial debut, 'My Mother's Wedding,' a comedic drama about family, trauma and getting on with it that opens in theaters Friday. Knowing that the story comes from a real place is important for the experience. It gives 'My Mother's Wedding,' a perfectly average film that doesn't quite land the way it should, an emotional depth that it's otherwise lacking. This is a strange shortcoming considering the caliber of the cast, including Thomas as the bride to be, and Sienna Miller, Emily Beecham and Scarlett Johansson as her daughters. But it's a cruel reminder that a good hook, talented actors, one killer monologue and a picturesque setting (in this case, the English countryside) aren't guarantees that a movie will work. In the film, the deaths may be in the distant past, but they continue to haunt Diana's (Thomas) adult daughters as she prepares to marry another. Diana's new man is not a dashing pilot, forever preserved in handsome youth. Geoffrey (James Fleet) is very gray. He likes to talk about birds, ospreys in particular, has never had children and comes with a very silly last name (Loveglove) that she plans to take. Her girls are not exactly impressed, though they've all got their own stuff to deal with. It should be said that Johansson is indeed playing a British woman in this film, and while I don't feel qualified to comment on the nuances of her accent, all I can say is that there is a consistently strange disconnect to hear it coming out of her mouth. Johansson is a great actor who I've believed in many wilder roles, from Marvel movies right on down to her Ellen Greene riff during 'Saturday Night Live's' 50th anniversary show. But, somehow, she's hard to buy as Katherine Frost: A British, lesbian Royal Navy officer in a longtime relationship with a woman named Jack (played by fellow beauty Freida Pinto). Miller's character is Victoria, a Hollywood actor known for franchise dreck (no one can remember whether the latest 'Dame Of Darkness' is the fourth or fifth in the series) and short-lived relationships. And Beecham is the youngest Georgina, a nurse who suspects that her husband is having an affair. To find out, the girls hire a private detective to surveil her house and show them the footage after the wedding. It's a very busy, fraught weekend for everyone. There's lots of fretting over why Katherine won't marry Jack, and why Victoria is dancing around a relationship with a wealthy, older French man when her childhood crush still pines for her. There's lingering anxiety about their mom marrying this man who seems so unlike the two heroes that came before and much discussion about the importance of last names, marriage and making sure kids feel like they belong to someone. Some things get resolved, but it's hard to shake the feeling that everyone might need a new therapist by the end. 'My Mother's Wedding' also has a silly lightness to it that's aiming for something along the lines of a Richard Curtis romantic comedy. But coherency of the vision is limited, as is the audience's investment, though there are some lovely and inspired touches like using Iranian artist Reza Riahi to hand paint several animated flashback vignettes based on her memories of her fathers. Thomas co-wrote the script with her husband, journalist John Micklethwait, which includes a particularly poignant monologue for her character telling her daughters, essentially, to grow up and move on — a mature and worthy statement that might come a bit too late. 'My Mother's Wedding' feels only partially realized. But Thomas did have the good sense to end with a song that might just conjure up some feelings for any 'Heartburn' fans out there: Carly Simon's 'Coming Around Again,' this time a duet with Alanis Morissette. 'My Mother's Wedding,' a Vertical release in theaters Friday, is rated R by the Motion Picture Association for 'brief nudity, some sexual material and language.' Running time: 95 minutes. Two stars out of four. © Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.


Metropolis Japan
5 days ago
- Metropolis Japan
The Fantastic Four
By Don Morton An analog good time I haven't bothered of late with superhero movies. The genre has devolved from its comic-book roots into a bewildering mishmash of sequels, prequels, origin stories, re-imaginings, super-groups, remakes and reboots, and they're all cross-connected, so you have to remain current with all of them if you hope to understand the latest. That, and I simply have nothing to say about them. Yet, I fondly remember back in the '70s when my college buddies and I, all arguably proto-nerds, eagerly awaited each new Spiderman, Hulk, Superman or Batman comic. So the door remains ajar, and I'm always open to new takes on this most escapist of genres. This is not the first time this quartet has been adapted to film, but it's the first shot at it that works. Roger Corman made a hilariously bad attempt in 1994, and the less said about Josh Trank's 2015 train wreck the better. So not a real high bar here for director Matt Shakman. I had some time, and the theater was air-conditioned, so I went to see this one and was pleasantly surprised (this doesn't mean I won't skip the inevitable sequel(s). Most obvious is its faithfulness to the source material. While the term 'comic book' is often used pejoratively as an adjective for movies, implying a certain lack of sophistication, this one instead embraces the aesthetic and runs with it. The action takes place in a kitschy retro-future (think fedoras and flying cars). The heroes and villains are of course exaggerated and somewhat ridiculous. Kind of like, you know, in a comic book. And it's not even an origin story. It opens four years after Reed Richards (Mr. Fantastic, superpower: elasticity, scientific genius), his wife Sue Storm (invisibility, force fields), brother Johnny Storm (flaming and flying) and their friend Ben (smashing stuff) gained their powers in an outer-space accident (Pedro Pascal, Vanessa Kirby, Joseph Quinn and Ebon Moss-Bachrach respectively). They are now established, respected crime-fighters in the city. Then the Silver Surfer (Julia Garner) shows up with the news that Galactus, Devourer of Planets, is on his way and Earth is on the menu. So I've said all the good things I have to say. It is, after all, a superhero movie. It follows the expected story arcs, and the ending's a tad anticlimactic. But it's positive and upbeat, relatively intelligent, and a good time at the movies for the whole family. Big screen, of course.

Metropolis Japan
5 days ago
- Metropolis Japan
Elio
By Don Morton Little sign of intelligent life The title newly orphaned space-fanatic kid hopes and prays for aliens to abduct him so he can escape his sad, Earthbound life. They do. (Not a spoiler because it's the movie's whole schtick.) He goes off to meet a lot of cute, colorful aliens and gets involved in their politics. Or something. This is reportedly Pixar's biggest box office bomb, so I went to see why. It's nothing if not frenetic, with myriad characters and thin, convoluted plot lines appearing and vanishing at warp speed. It will lose little kids, maybe even frighten them. It never quite clicks and fails to stick the landing. The best Pixar films make blending humor, wonder and spectacle seem effortless. This one offers plenty of light, sound and motion, but it's trying too hard, and nothing really resonates. Don't be expecting Toy Story or Finding Nemo. The Disney subsidiary certainly knows how to put the dazzle on the screen, but there's little narrative coherence to back up all the visual inventiveness. And when it tries to leaven the action excess with emotion and empathy, it shamelessly slides into button- pushing territory. Great score, though; loved the Talking Heads needle drop.