You’ve seen Novocaine so many times before that it hurts

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In some way or another, the film “Novocaine” provided me with a profound realization as a movie critic. As I sat through cringe-worthy attempts at romantic dialogue in this production, it struck me that the last decade of mainstream American cinema has veered off course. It seems that screenwriters have been more influenced by the first Deadpool movie than by the works of Nora Ephron, George Cukor, or Mira Nair. The tender and seductive undertones present in films like “The Philadelphia Story” or “Mississippi Masala” appear to be missing. Instead, there’s an overabundance of jokes and sarcasm, as if humor would make the sentimental aspects more palatable. Sexual acts (such as the depiction in Deadpool for example) are often used merely for comedic effect, reducing them to “no homo” jokes.

In contrast to many modern narratives, where characters engage in endless self-referential conversations, Challengers stands out as a valuable exception that requires genuine human connections, even messy ones, to thrive. Similar to musicals and numerous other storytelling mediums, romantic themes cannot be overly self-aware. Expressing one’s feelings openly is essential, rather than relying on clichés like “what an original speech in a bar!” Such a writing style does not pave the way for creating the next masterpiece like When Harry Met Sally or Saving Face. If Novocaine evokes thoughts about broader cinematic trends instead of sparking excitement over exciting action scenes, it suggests that the movie may be lacking. However, in six years, directors like Phạm Thiên Ân, Lucrecia Martel, or Tsai Ming-liang might casually proclaim this their favorite film of all time, much like Terrence Malick reportedly admires Smokin’ Aces. For now, Novocaine is merely a struggle to get through.

In a tranquil existence, character Nathan Caine, portrayed by Jack Wuaid, manages a bank under his belt while dealing with the peculiarity of being born without the ability to feel pain. This unique condition, although seemingly advantageous, turns everyday tasks such as consuming solid food into challenging ordeals. However, filmmakers Dan Berk and Robert Olsen introduce an element of improvement in Nathan’s life when he goes out on a date with a fresh bank employee named Sherry (Amber Midthunder). This woman encourages Nathan to step outside his comfort zone and fosters a sense of companionship in him. Their romantic encounter in December offers an extraordinary twist to the traditional holiday season.

Unfortunately, on the day after their momentous date, a band of cunning robbers, headed by Simon (Ray Nicholson), targeted Nathan and Sherry’s bank. These criminals made off with all the funds in the bank, and they kidnapped Sherry to delay the police from pursuing them during their escape. Determined to rescue the only woman he has ever loved, Nathan steps up to the challenge. Although he is more like George Bailey than John Wick, he plans to use his remarkable resilience to pain to get Sherry back safely.

Berk and Olsen have a fondness for stories that involve characters who aren’t as they seem, with unexpected twists and turns. For example, their 2015 film Body showcased three women who unintentionally turned into killers while partying. In contrast, Villains from 2019 focused on crooks breaking into a house that was home to two extremely dangerous individuals. With their latest project, they’re adapting Lars Jacobson’s script for Novocaine, where they get to transform a clean-cut police character, reminiscent of Tom Hanks in the 80s, into someone subjected to gruesome body horror scenes. Regrettably, their unique approach seems limited in Novocaine, only becoming subversive when body parts are burned or disfigured.

In essence, Jacobson’s narrative weaves in a secondary plot focusing on detectives Betty Gabriel and Matt Walsh probing Caine’s actions. It seems reminiscent of a revived subplot from the relatively unexciting Carry-On, if I may say so. The diverse settings that Caine traverses, however, are predominantly dark environments (such as a garage or a kidnapper’s home rigged with traps) with few distinctive features. The only exception is the kitchen setting for Caine’s initial fight scene, which has a distinct character. Regrettably, even this action sequence feels like a reiteration of a more impactful skirmish from Monkey Man. Furthermore, there are a few music cues scattered throughout, a common trait in modern R-rated action films today. Notable exceptions include a Chappell Roan tune briefly heard and the return of Chicago’s “You’re the Inspiration,” previously featured in Deadpool, among many other movies.

In simpler terms, the convincing visual effects showing Steve Caine’s gruesome injuries, particularly his severely burned hand, remind us of gruesome scenes in classic films by Peter Jackson and Sam Raimi. The movie Novocaine, however, focuses more on understanding the physical pain but less on the entertaining chaos these graphic images convey. One might wonder where the twisted minds behind films like Meet the Feebles or Army of Darkness would take us next. On the other hand, Novocaine leans too heavily on a predictable plot and emotional moments, rather than just embracing chaos. Instead of using available screen time to show mayhem, it spends time explaining why Caine can’t go to the police. This overemphasis on a convincing storyline undermines Novocaine‘s natural inclination towards chaos, and the forced romance between Caine and Sherry feels flat compared to the anarchy usually portrayed in the film.

In simpler terms, the script for “Novocaine” seems overly reliant on referencing popular movies and storytelling devices, which can be frustrating. Instead of developing unique characters, the dialogue often revolves around quips that feel more like references than genuine interactions. This excessive self-referentiality stifles the movie in every aspect, making it hard for viewers to invest emotionally in the romance between the characters. Additionally, this style of writing detracts from the action sequences, causing them to feel less impactful. Instead of creating fresh and engaging content, “Novocaine” seems more focused on reminding audiences of past pop culture, rather than providing something new and exciting for viewers today.

It would be more understandable if Novocaine had extraordinary action scenes to compensate for its minor flaws in the script. Although Jacobson’s script creatively incorporates Caine’s invulnerability to pain into combat situations, most of the intense fight sequences are lackluster and unimpressive. Most disappointingly, several inventively gruesome killings lose their intended impact due to poor lighting and camera work, making it hard for viewers to follow what transpired instead of cheering along!

Despite the weak script, Quaid and Midthunder manage to create an endearing dynamic in their initial scenes. Quaid, in particular, does an excellent job at portraying Caine’s constant vulnerability while maintaining a relatable everyman feel. Although Caine doesn’t experience pain, his movements and reactions show the effects of this rescue mission, subtly conveying wear-and-tear. Quaid effectively highlights these minor physical nuances, although the other characters in the film lack the depth of personality that he brings to life. The trio of villains, unfortunately, are just a generic group of adversaries that contribute to Novocaine‘s forgettable visual style.

The film “Novocaine” suffers from several issues, such as the difficulty Berk and Olsen faced in blending over-the-top B-movie violence with traditional narrative structures found in mainstream cinema. However, it’s the self-conscious dialogue that does the most damage to this production. “Novocaine” feels less like a heartfelt exploration of romance and more like screenwriters trying to show off their pop culture smarts. This is what happens when action movie romances start following the example set by “Deadpool.” The romantic dynamics are dull, filled with excessive snark that leaves viewers uninterested. Even the fight scenes lack the excitement needed to make up for the film’s fundamentally flawed core. Despite Berk and Olsen’s love for movies that delve into the unexpected aspects of people, they were unable to give “Novocaine” depth or originality.

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2025-03-12 17:15