Tag: Amber Midthunder

Oscar Predictions: Novocaine

Jack Quaid is the unconventional titular character who feels no pain in Novocaine next weekend. The action comedy comes from directors Dan Berk and Robert Olsen with Amber Midthunder, Ray Nicholson, Jacob Batalon, Betty Gabriel, and Matt Walsh in the supporting cast.

Critics are mostly satisfied with what they’re seeing. The Rotten Tomatoes score is 89% with Metacritic at a more telling 68. This is not a feature made for the Academy’s microscope, but it’s worth entertaining whether Quaid could play at the Golden Globes in Best Actor in a Musical or Comedy (similar to Ryan Reynolds from Deadpool).

My guess is that Novocaine will not be on that awards body’s radar either several months down the line. My Oscar Prediction posts will continue…

Novocaine Box Office Prediction

Paramount hopes Novocaine shows some teeth at the box office when it opens wide on March 14th. Jack Quaid headlines as a bank exec with a condition where he feels no pain. This turns him into a reluctant superhero during a hostage situation. Amber Midthunder, Ray Nicholson, Jacob Batalon, Betty Gabriel, and Matt Walsh costar with Dan Berk and Robert Olsen directing.

Any hope of Deadpool size grosses can be easily forgotten as the marketing campaign isn’t too robust. With quiet buzz, the real question is whether this manages to top $10 million for its start. I suspect it may not despite a reported debut on 3200 screens.

Novocaine opening weekend prediction: $9.8 million

For my Black Bag prediction, click here:

Black Bag Box Office Prediction

For my The Day the Earth Blew Up: A Looney Tunes Movie prediction, click here:

The Day the Earth Blew Up: A Looney Tunes Movie Box Office Prediction

Oscar Predictions: Opus

Opus, out March 14th from A24, marks the directorial debut of Mark Anthony Green. Unveiled at Sundance, the thriller stars The Bear‘s Ayo Edebiri as a journalist tasked with profiling a reclusive former pop star (John Malkovich) on his island full of sycophants. Juliette Lewis, Murray Bartlett, Amber Midthunder, Young Mazino, Tatanka Means, and Tony Hale are among supporting players.

Despite a cool sounding concept, critics are saying the execution doesn’t land. The Rotten Tomatoes meter and Metacritic score are each stalled at 41. This is one Sundance entry that will not be part of any awards conversations. My Oscar Prediction posts will continue…

Prey Review

Touching down 35 years after the glistening biceps and grisly kills of Predator, Prey puts the “pre” in prequel by taking us all the way back to 1719. Our setting is the Northern Great Plains in a mountainous region inhabited by a Comanche Indian tribe. The elements of the time are their own enemy and so is the wildlife roaming free. This includes lions and bears of the somewhat unconvincing CG variety. There’s also a gruesome scene where buffaloes earn their wings.

Dan Trachtenberg’s film poses the question – what if we dropped one of those Predators in this unique cinematic universe? The answer is a clever spin on the franchise that marks its own territory. It limits the callbacks to the original so that when they surface, they’re appreciated. The screenplay isn’t muddied by burying itself in nostalgia and that’s something plenty of other series can’t claim as of late.

There are no semiautomatic weapons or choppas for Naru (Amber Midthunder), a young warrior who longs to be a hunter. Her brother Taabe (Dakota Beavers) is considered one of the best. It’s clear that her community simply doesn’t view her as capable of doing the same. She gets the chance when that extraterrestrial entity (still a triumph of creature design) makes a visit. Her trusty hound Sarii joins her. Camouflaging itself to attack at the right moments and still giving its potential victims a fighting chance, this is indeed Predator’s best vehicle since part 1.

Predator 2 certainly had its guilty pleasures back in 1990 while 2010’s Predators was a mixed bag. By 2018, Shane Black’s The Predator fell apart as it went along and marked a low point. Prey‘s concept of taking the iconic monster back 300 years is simple and effective. Midthunder’s determined heroine is a huge plus and she’s easily the most engaging protagonist since Arnold. Predator isn’t the only predator around as French colonists surface to torment the Comanches. This group’s encounters with Naru and the beast are violent highlights.

Besides some occasionally questionable CG, it’s fair to say that Prey works on every level imaginable. I found myself immersed in the striking landscapes that its unwelcome guest crashes. Trachtenberg stages his action sequences with precision and there’s no time wasted in its 100 minutes. This is how you do a prequel. With this crew involved, I’d eagerly sign up for more predatory journeys through history.

***1/2 (out of four)

The Ice Road Review

Liam Neeson’s The Ice Road finds its inspiration from two classic pictures in 1953’s The Wages of Fear and 1977’s Sorcerer. The plots are similar by placing truck drivers in dangerous situations with nearly impossible odds to succeed. In Wages and its remake, it regarded the transportation of finnicky nitroglycerin over rough terrain. Though explosives are involved here, Road mostly pertains to what lies beneath. This is where ears of fans for the History Channel’s Ice Road Truckers may perk up.

A mining disaster in Manitoba traps 26 workers. The only way in reaching the remote locale to rescue them is hauling hefty rigs over the frozen tundra. Signing up for the job is Neeson’s toothpick chomping Mike McCann and brother Gurty (Marcus Thomas), an ex-Vet suffering from PTSD and aphasia, a condition which limits his ability to communicate. Others along for the ride due to their particular sets of skills are Laurence Fishburne as a seasoned driver and Tantoo (Amber Midthunder), a rebel with a cause whose brother is among those closed in and about to run out of oxygen. There’s also Tom (Benjamin Walker), a company man supposedly there to assess insurance risk.

The Ice Road volleys back and forth between the motorists on their slick mission, the captive workers making life or death decisions as their breathing slows, and the corporate overlords more concerned with not ruining their profits. Neeson has, of course, made his own profitable second career with these mostly generic action thrillers. With Jonathan Hensleigh (writer of Die Hard with a Vengeance and Armageddon) behind the directorial wheel, we have another middling entry for the Taken lead.

As the credits rolled, it struck me how little real action or visual thrills there are here. Some of this could be budget related. When the ground cracks and mayhem occurs, we never see below the surface and that might have been cool (pun intended). Neeson doesn’t sleepwalk through the role nor does Midthunder. As for brother Gurty, he does have a pet mouse that comes in handy at one point. Ultimately this tale of ice and anonymous ski goggled henchmen is primarily stuck in mediocrity.

** (out of four)