Novocaine – Film Review

Action thrillers often hinge on their protagonist’s vulnerability, but Novocaine, directed by Dan Berk and Robert Olsen, flips the script by giving its lead a unique condition: congenital insensitivity to pain (CIP). Starring Jack Quaid as the reserved yet resilient Nathan Caine, the film explores what happens when a man who cannot feel pain is forced to fight against overwhelming odds to save his kidnapped love interest, Sherry (Amber Midthunder).

With a mix of adrenaline-pumping action, moments of dark humor, and an intriguing medical twist, Novocaine stands out from the typical hostage-retrieval formula. However, while its concept is intriguing, the film struggles with uneven execution, wavering between gripping action and an underdeveloped emotional core.

The film wastes little time establishing Nathan Caine’s unique condition. As a bank executive, Nathan is unassuming, socially awkward, and largely introverted. The early scenes effectively depict his struggle with human connection, especially when it comes to his growing feelings for his coworker, Sherry. Jack Quaid’s performance makes Nathan an affable underdog, but his character lacks the layered depth that could make him truly compelling. The idea of a man unable to feel pain creates interesting dramatic possibilities, but the script often leans too heavily on the gimmick rather than fully exploring its psychological and physical implications.

The film kicks into high gear when a group of robbers, led by the unpredictable and violent Simon (Ray Nicholson), storms the bank, taking Sherry and others hostage. With the police, including Officer Mincy (Betty Gabriel), caught in a standoff, Nathan is left as the only person capable of taking matters into his own hands. What follows is a brutal, visceral series of confrontations where Nathan’s lack of pain response becomes both an advantage and a curse.

Berk and Olsen craft tense, well-staged action sequences that make the most of Nathan’s condition. He doesn’t have superhuman strength, but his inability to feel pain allows him to endure extreme situations, creating a protagonist who can push through injuries that would incapacitate others. One particularly memorable sequence sees Nathan surviving a brutal hand-to-hand fight against two armed robbers, taking blows that would break bones, yet continuing to press forward.

The film cleverly plays with the audience’s expectations. Unlike traditional action heroes who brush off injuries as if they’re invincible, Nathan doesn’t react at all, making for moments of unsettling realism. The downside, however, is that this sometimes robs the action of dramatic weight—since Nathan doesn’t feel pain, the audience is less inclined to feel his struggles viscerally. It’s a tradeoff that the film doesn’t always handle well.

Amber Midthunder, known for her strong performances in Prey and Legion, brings both vulnerability and resilience to her role. While Sherry is initially positioned as a damsel in distress, the film does allow her moments of agency, particularly in her interactions with Simon. She’s resourceful, attempting to manipulate her captors and subtly resisting without outright defiance that would get her killed.

Her chemistry with Jack Quaid is endearing in the early scenes, making Nathan’s desperate quest to save her feel justified. However, the film could have fleshed out her character further—Sherry remains largely a narrative device to propel Nathan into action rather than a fully developed individual with her own arc.

Ray Nicholson, son of Jack Nicholson, does his best with the role of Simon, the erratic leader of the robbers. He exudes menace and unpredictability, but his character lacks the depth of a truly memorable antagonist. While his performance is solid, Simon is ultimately a stock villain—ruthless but without the layered motivations that could have made him stand out.

Jacob Batalon, known for his comedic roles in Spider-Man, plays Roscoe, Nathan’s online gaming friend who provides some much-needed levity. While Roscoe is largely sidelined in the main action, his character serves as a grounding presence for Nathan, offering support and hacking skills to aid his mission.

One of Novocaine’s biggest strengths is its ability to deliver practical, well-choreographed action on a modest budget. The direction by Berk and Olsen is slick, making use of tight, claustrophobic spaces and dynamic camera work to maintain tension. The film’s pacing is brisk, never lingering too long on exposition before launching into its next set piece.

However, where the film falters is in its exploration of Nathan’s condition. CIP is a fascinating disorder with profound implications, yet the script treats it more as a superpower than a genuine medical condition. While Nathan’s lack of pain leads to moments of body horror—such as him unknowingly breaking a bone or walking on glass without noticing—the psychological toll of his condition is largely ignored. The film misses an opportunity to explore how someone with CIP navigates everyday life beyond just the action-driven elements.

Additionally, the film’s third act feels rushed. After an intense buildup, the climax lacks the emotional weight it should have. The resolution is satisfying but predictable, failing to deliver a truly surprising or poignant conclusion.

Novocaine is an entertaining action thriller with a unique hook, bolstered by Jack Quaid’s charismatic lead performance and well-crafted fight sequences. The film excels in delivering visceral action but stumbles when it comes to fully exploring the potential of its premise. The supporting cast, including Amber Midthunder and Betty Gabriel, does solid work, but their characters lack the depth needed to elevate the film beyond a standard action flick.

For fans of high-concept action films, Novocaine is worth a watch, but it ultimately falls short of greatness. With stronger character development and a deeper exploration of its protagonist’s condition, it could have been something truly special. As it stands, it’s a solid, enjoyable ride that leaves the audience wanting just a bit more.