Novocaine review – Jack Quaid is put through the grinder in ultraviolent action comedy

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A man’s inability to feel pain comes in handy in this extravagantly gory bank heist caper Risk-averse San Diego assistant bank manager Nathan Caine (Jack Quaid) lives a cautious, cotton wool-wrapped life. It’s not that he’s afraid of getting hurt. Quite the opposite, since a rare genetic abnormality means he’s unable to feel pain. Rather, Nathan is concerned that because of his sensory quirk he risks inadvertently injuring himself. When the girl of his dreams, sparky fellow bank employee Sherry (Amber Midthunder), is abducted during a heist, and Nathan embarks on an off-the-cuff rescue mission, his unusual condition suddenly comes in handy. While Nathan may feel no pain, the audience certainly does: this is an amped-up, cartoonish blitzkrieg of ultraviolence and – fair warning – a bit of an endurance test if deep-fried fingers and snapped bones give you the ick. Directors Robert Olsen and Dan Berk take a sadistic glee in dreaming up extravagant horrors to inflict on their irrepressib...
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‘Has this guy ever made a movie before?’ Francis Ford Coppola’s 40-year battle to film Megalopolis

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The director has spent half his life and $120m of his own money to make his sci-fi epic. Just days ahead of its debut in Cannes, some of his crew members are questioning his methods

‘My greatest fear is to make a really shitty, embarrassing, pompous film on an important subject, and I am doing it,” Francis Ford Coppola said in 1978. “I will tell you right straight from the most sincere depths of my heart, the film will not be good.” The film was Apocalypse Now, and it was good, and the rest is history.

Part of that history has been Coppola’s reputation as an intrepid adventurer who was prepared to risk everything, to defy the studio suits, to go to the brink of ruin and madness, all for the sake of art. The making of Apocalypse Now cemented that legend – the epic scale, the jungle insanity, the heart attacks, the unbiddable weather and even less biddable actors – all of which was captured by his wife, Eleanor, in the 1991 documentary Hearts of Darkness. Coppola’s anti-establishment approach has produced some of cinema’s greatest triumphs (The Godfather trilogy, The Conversation, Dracula) but also some of its worst failures (One From the Heart, The Cotton Club).

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