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    Movie Review

    Gut-busting action comedy Novocaine features a hero who can't feel pain

    Alex Bentley
    Mar 13, 2025 | 5:15 pm
    Jack Quaid in Novocaine

    Jack Quaid in Novocaine.

    Photo courtesy of Paramount Pictures

    Stories featuring ordinary people faced with extreme situations have proven to be popular in film history. They range from Hitchcock movies like Rear Window to Brian De Palma’s Blow Out to the Coen Brothers’ Fargo. Recent films like Nobody and Love Hurts have put a twist on the sub-genre, featuring protagonists whose mild personas and everyman looks hide violent abilities.

    The new film Novocaine is a further twist, as the ordinary man at its center has an ability that he’s never fully tapped before. Nate Caine (Jack Quaid) is a mild-mannered assistant bank manager whose life is boring by design, as he has a disorder called Congenital Insensitivity to Pain. Being unable to feel pain, traumatic events that would stop most people in their tracks don’t faze him at all, sometimes to his detriment.

    Soon after making a rare connection with another bank employee, Sherry (Amber Midthunder), the bank is robbed and Sherry is kidnapped. Nate decides to pursue the kidnappers to try to rescue Sherry, setting in motion a series of events that a person without his condition would find unbearable. However, his inability to feel pain turns him into a kind of unstoppable machine, determined to do whatever it takes to achieve his goal.

    That synopsis of the film, directed by Dan Berk and Robert Olsen and written by Lars Jacobsen, makes it sound like a serious action film, but it’s actually an action comedy that finds a unique angle for its hero. The filmmakers portray Nate’s condition, if not completely accurately, then with an air of plausible realism. The laughs come not at his expense, but in reaction to how he repeatedly uses his ability to his advantage.

    The result is a violently graphic film that rivals ones like John Wick in what it showcases. Knowing he can’t get hurt, Nate has no issue putting himself in harm’s way, whether it’s burns, gunshot wounds, impalements, and more. The amount of damage done to him could make the film into a kind of live-action Looney Tunes, but the filmmakers manage to walk the line between hilariously ridiculous and eye-rollingly stupid.

    The romance between Nate and Sherry provides a nice through-line for the story, with a few good twists and turns along the way. The lone big misstep of the film is Nate’s friendship with Roscoe (Jacob Batalon), one developed through online gaming that turns into real life by necessity. It takes a long time for them to get any scenes together, with their interactions ultimately feeling unnecessary.

    Quaid seems to be hitting his stride as an actor, starring in The Boys on Prime Video and in the recent Companion. He does a great job of never overplaying this role, keeping Nate as a regular person despite what he’s able to do. Midthunder is hit-and-miss, as the story takes her character through a yo-yo arc. Betty Gabriel and Matt Walsh do serviceable work as detectives tracking Nate, delivering exactly what’s expected of them.

    Novocaine is much better than it probably had a right to be, with some solid storytelling, some intense action, and a fantastic lead performance by Quaid. Humor and graphic violence don’t always go hand-in-hand, but this film finds a way to combine them in memorable ways.

    ---

    Novocaine opens in theaters on March 14.

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    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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