We’re in the thick of an ongoing movie star crisis and it’s one that no amount of “Glen Powell grinning on a red carpet” images can easily fix. His rise might have been a rare spot of good news on that front but it’s otherwise been a rough period for the emergence of true, crowd-drawing leads, a problem across many genres that’s recently been felt most in the action sphere. The last year has seenAaron Taylor-Johnson,Henry Cavill,Bill Skarsgård,Dev Pateland, last month,Ke Huy Quanface a mixture of critical shrugs and audience lack of interest (Love Hurts in particular, bombing with $15m globally and an 18% RT rating) while those more established, such as Gerard Butler, Keanu Reeves and Jason Statham, have continued to dominate.Holland review – twisty Nicole Kidman thriller is a disappointing messRead moreAhead ofAna de ArmasandRami Malektrying their luck, here comes nepo baby done good Jack Quaid in Novocaine, the son of Meg Ryan and Dennis Quaid fresh off the patchy sci-fi comedyCompanion. That film saw him riff on his Scream persona – toxic bro doing nice guy cosplay – while here he’s closer to Amazon’s The Boys – nerdy guy doing action hero cosplay – and, again, he’s better than the material. But his charm still isn’t enough to power us through another quippy and egregiously thin little lark, hinged on a one-joke premise that stops being funny far too soon.The joke here is that the junior bank manager Nathan Caine (Quaid) can’t feel pain. He has a rare disorder that has turned his small life even smaller, shying away from everyday life with the adoption of a tightly controlled routine to avoid serious injury. For reasons known only by the screenwriter, he’s tempted to change that after loosely working with the teller Sherry (Prey’s Amber Midthunder), who gets him to do things like eat solid food (he’s been on a liquid diet to avoid biting his tongue off) and risk his life for her during a robbery. She’s taken hostage by a crew of Santa suit-dressed criminals (the film is half-heartedly set at Christmas) so he decides to track them down and save the girl.Such recklessness from someone who has curated the cushioned life of a solitary introvert would need more motivation than the shreds we’re given here. A diner lunch, some drinks and a night in bed, all tied together with the vaguest hint of chemistry, are not enough to warrant a death-defying act of romance, his insertion into the crime then serving to implicate him. While his inability to feel pain might act as a superpower in the right moment, we’re never really shown why he would also be such a nifty fighter. It’s all the stuff of basic male fantasy – a lanky video game-playing geek is actually a secret action star – and while the film isn’t purporting to be a grounded slice-of-life drama, there are too many leaps required.There’s also not really enough fun here, the repetitive nature of the fight scenes – quip, laugh, injury, wince – growing tired fast. There’s such glee over the violence that it takes precedence over any genuine excitement, the directors Dan Berk and Robert Olsen shooting the action with such drab flatness that our pulses never quicken. The neo-noir marketing campaign and the smartass script would lead one to expect something visually sharper but there’s no discernible style here, the duo weirdly choosing to emulate the feel of a bigger Michael Bay-esque action thriller rather than something more suited to the offbeat material and small budget (it’s also shot in Cape Town, a hugely unconvincing double for San Diego).After exhausting its elevator pitch premise, the script, from Lars Jacobson, doesn’t have much more to offer. The plotting of the heist is filled with distracting “but how come” holes and while there’s a decent-ish twist early on, it’s then just one long unexciting chase to the end, a boringly straight line when some left turns would help. Quaid’s charm is diluted by dialogue that’s never quite as funny as it should be or those involved think it is and as his zippy gamer sidekick, Jacob Batalon, finds himself in autopilot territory that as an actor he seems unable to escape (he’s trapped in a cycle of regurgitating lesser versions of his Spider-Man role). It’s clear that this is being primed as a cheap and cheerful new B franchise but with the premise exhausted so very fast, it’ll be a struggle to find that much more to do with such a lacklustre character with such a played-out condition. Novocaine urges us to feel something big – excitement, revulsion, romance, shock, amusement – but I left feeling very little.Novocaine is out in US cinemas on 14 March, the UK on 28 March and Australia on 3 April
Novocaine review – throwaway one-joke action comedy brings the pain
TruthLens AI Suggested Headline:
"Novocaine Review: Action Comedy Struggles with Thin Plot and Lack of Excitement"
The Guardian
6.6
TruthLens AI Summary
The ongoing movie star crisis has been particularly evident in the action genre, with a lack of compelling leads emerging to draw audiences. Despite the recent rise of actors like Glen Powell, many established stars such as Gerard Butler and Jason Statham continue to dominate box offices, while newer talents including Aaron Taylor-Johnson and Ke Huy Quan have faced mixed critical reception and audience indifference. The latest addition to this landscape is Jack Quaid, son of Meg Ryan and Dennis Quaid, who stars in 'Novocaine,' a film that attempts to inject humor into its action narrative but ultimately falls short. Quaid plays Nathan Caine, a junior bank manager with a rare disorder that renders him unable to feel pain, which leads him into a series of reckless decisions after he becomes involved with a bank teller named Sherry, portrayed by Amber Midthunder. While the film's premise holds potential, it quickly devolves into a thin plot that lacks adequate motivation for Caine's transformation from introvert to action hero.
The film struggles to deliver excitement, relying on repetitive fight scenes that quickly lose their charm. The directors, Dan Berk and Robert Olsen, fail to bring a unique visual style to the film, opting instead for a flat aesthetic reminiscent of larger action blockbusters. As the plot unfolds, it becomes clear that the script is riddled with inconsistencies, leaving audiences questioning the logic behind the heist and Caine's sudden prowess in combat. Quaid's charisma is stifled by uninspired dialogue, and his co-star Jacob Batalon appears to be stuck in a cycle of playing similar roles without any significant development. 'Novocaine' ultimately fails to evoke the intended emotions, leaving viewers feeling underwhelmed by a film that promised excitement but delivered little more than a lackluster experience. With its release in various countries scheduled for March and April, the film seems poised to join the ranks of forgettable action comedies rather than establishing a new franchise.
TruthLens AI Analysis
The review of "Novocaine" offers a critical perspective on the current landscape of action comedies and the challenges faced by emerging movie stars. It highlights the difficult climate for actors attempting to establish themselves as leads in a genre struggling for fresh talent and audience engagement.
Industry Trends and Challenges
The article reflects on a broader trend of dissatisfaction within the film industry, particularly concerning the lack of compelling leading actors in action films. It mentions several actors who have struggled to gain traction, signaling a potential crisis in drawing audiences to theaters. This context suggests that "Novocaine" is not just an isolated work but part of a larger narrative about the changing dynamics of Hollywood, where established stars continue to dominate while newcomers falter.
Character Analysis and Themes
Jack Quaid's portrayal of Nathan Caine, a character unable to feel pain, serves as an intriguing premise. However, the review suggests that the film fails to explore this concept deeply, relying on a single joke that quickly loses its humor. This analysis indicates a missed opportunity for character development and thematic richness, which could have elevated the film beyond a simplistic action comedy.
Audience Reception and Expectations
The review positions "Novocaine" within a framework of audience expectations for action comedies. The disappointment expressed in the review suggests that viewers are seeking more than just surface-level humor and action; they desire substance and originality. The film's reliance on a one-joke premise may alienate potential viewers looking for deeper narratives in their entertainment.
Market Impact and Economic Implications
As the review touches upon the broader implications for the film industry, it raises questions about how films like "Novocaine" might affect box office performance and the financial viability of new projects. Should the film perform poorly, it could contribute to a reluctance among studios to invest in new talent, further entrenching existing stars in leading roles. This situation underscores the economic stakes involved in the success or failure of films in this genre.
Public Sentiment and Industry Image
The article implicitly reflects a sentiment of discontent among film critics and audiences alike, as it critiques not only the film itself but also the industry’s struggles to cultivate new stars. This critique may resonate with viewers who feel similarly frustrated with the current offerings in cinemas. The ongoing dialogue about the viability of new actors in Hollywood is likely to shape public perception of the industry as a whole.
Potential Manipulative Elements
While the review primarily focuses on the film's content, it also serves as a commentary on the industry’s challenges. There may be an underlying intent to provoke thought about the lack of innovation in Hollywood and the consequences of relying on established stars at the expense of new talent. This critical approach can be seen as a call for change, urging audiences and industry insiders to reconsider their preferences and support emerging artists. The reliability of this review can be deemed moderate, as it reflects subjective opinions and interpretations of the film. While it provides insights into the film and the industry, it also represents the reviewer’s personal stance, which may not resonate with all audiences.