Ask any cascade person, and they will tell you: the ability to sell the punch is just as important and probably more than relieving them out. Ask any editor or sound designer, and they will confirm it and then some. If you’ve ever watched a raw diary from an action movie, you will note how strange the sequence of battles without weight becomes when they are robbed of their rhythm and their body’s satisfactory thwam sound. All this means that the operation in the cinema is so incredibly dependent on the total impact of violence, even more than the shows and the feats of the power and dexterity. Since it all happens for the period, it is no wonder that so many great action directors come from comedy or are adept – from Buster Keaton to Jack Chan.
However, there are as many great filmmakers who come from the horror world. Of course, there is a certain comedy overlap, of course, with regard to the schedule of scandal or killing sequence. However, there is also the quality that the horror people have over a pure comedy or pure action people, namely that their murders usually have a much greater impact and brutality than most. Horror directors know that it is not just a cry here and a slice that makes the violence. This is as much psychological as the visceral, which means they need to involve the audience’s imagination while providing bloody goods.
As evidence do not look for more than This weekend’s new release “Novocaine” An action movie that deals with several other genres, including Rom-Com, Film Noir and yes, comedy. Although Novocaine could not be accurately described as a horror film, the sequence of its actions has many advantages. In part, this is because of the premise – the film’s hero Nathan Cain (Jack Kaid) suffers from a condition that prevents him from feeling the pain, which means he can take on more beating than most ordinary people. However, this is also because directors Dan Berk and Robert Olsen themselves come from the horror background, and while Novocaine is their first film, they already got so much training they need to act from horror.
Astonishing horror DNA history in action cinema
While horror comedy is a genre hybrid that most people are aware of, there is a long and diverse history, the horror of action seems to have been less discussed. This does not mean that it is less common; Further on, for example, films like Predator, Blade, Overlord, this year’s “The Gorge” and the output of almost all screen gems in 2000 and 2010 (which are very involved in “Resident Evil” and “Underworld” franchises), which can be proved.
In most of these films, the emphasis is strictly on action than on horror – except for some scenes, no one expects these films to scare the audience as much as they are fascinated. However, horror elements add extra charge to the action, increasing the rates, including threats such as vampires, zombies and other beasts, not just humans. Even when the movie is more fantasy and sci-fi action than horror-like, “Ring Lord”, Movies, or “upgrade”, “ Or “65” – you can bet that behind it is a director who is well -being in horror. Only in these examples you like Peter Jackson (“Braindead/Dead Alive”), Leigh Whannell (“Invisible Man”) and Scott Beck and Brian Wood (“Heapery”), all genre veterans.
In addition to being infected and confused with horror tropical tropicals and techniques, sometimes the entire horror director has to make their action film sets and kills a small extra oomfa to make a greater impression. Sam Raimi fans of the movie “Spider” are constantly pointing to the scene from “Spider-Man 2”, after which the doctor Otto Octavius (Alfred Molina) is converted into a doctor and ock and ock and ock and His barely intelligent robotic tentacles Attacks the hospital room staff in a true “evil dead” style. John Warter gave “Escape from New York” a terrible sense of reality thanks to his skill about the schedule and tone. James Wan took the teachings he learned about “Saw” and “Dead Silence” to lend “the brutality of the death penalty it needed, and then followed” insidious “and” The Conjuring “with” Furious 7 “, allowing this last movie to another world.
Maybe one of the best examples of horror director that brings some extra sauce into their action films Renny Harlin who started his career With horror films “Prison” and “Nightmare at 4 Elmas Street: Dream Master”. As such, his subsequent action efforts, namely “Die Hard 2”, “Cliffhanger” and “The Long Kiss Goodnight,” are all visible killings that would not be inappropriate in Slasher, but lend the action movie directly into the right spice.
As novocaine uses horror -like violence without destroying a movie tone
In the beginning, Novocaine, when Nathan describes his position for Sherry (Amber Midhunder), a colleague he has fallen in love, she excitedly exclaims that it makes her a kind of superhero, an observation that Nathan denies. It turns out that they are both right: while Nathan’s ability to help him get the courage to chase after the Sherry kidnapped and struggling with some bad ashes, that does not mean that he is invincible. Just because he does not feel pain does not mean that his injuries do not affect him in other ways. Thanks to this increased blend of genre and justified reality, Berks and Olsen can get rid of some truly gloomy Gore Gags in the film and still keep a sense of danger, while not letting the films violence ever become too realistic to confuse.
Thus, “Novocaine” has many moments that emphasize pain and bodily harm, just to react to Nathan. Nathan is experiencing everything from the collision and shot to his hand fried in oil, and Berks and Olsen play an audience like a violin, showing the contrast between what happens to Nathan physically, while not letting it emotionally inhibit him. After all, Nathan even learns to use this disconnection to his advantage, first hit a fist in a broken glass to create a shift brass swivel, and then lasting torture, which would break most people, but almost in the phase. When he uses one of his protruding bones to capture the enemy, he is almost supernatural in his creative brutality.
However, it is imperative that Nathan remains more than every human being than a superhero or monster, so Berks and Olsen skillfully emphasize the emotional disconnection comedy more than the damage to the terror. This makes “novocaine” a bit about aspiration body horror film, which is really a rare thing. In each round, it is clear that Berks and Olsen use their knowledge of horror (stemming from their previous films, such as “villains” and “Significantly others”) to improve the activity that is something that every action director tends to do, regardless of their background. Managing great activities is like being in a successful music group: you can’t just play hits, you also have to sell.
