“Novocaine” stars Jack Quaid as Nathan Caine, a man with a condition that makes him unable to feel pain. This is an action movie, and it sounds like a man who can’t feel pain would fit right into the role of action hero, right? Actually, no. Caine’s condition is just terribly inconvenient in his everyday life. He could get cut or burned without realizing it, and if the wound is left untreated, he could get an infection. He doesn’t have the instinct to keep his tongue away from his teeth, so he has to abstain from solid foods or else he could chomp right into his tongue. He can’t even feel the pangs associated with having to go to the bathroom, so he just goes every three hours whether he needs to or not.

Caine’s condition has led to social awkwardness, and although he’s nice to people, he has few real friends outside of unseen online gamer Roscoe (Jacob Batalon). But things change when he starts a relationship with fellow bank employee Sherry (Amber Midthunder), who has her own history with physical pain. They go on one date and Caine immediately knows he’s in love with her. He’s at a rare high point in his life at work the next day when a trio of robbers massacre that bank and take Sherry hostage as they flee. The sense of fear and potential loss is the worst feeling Caine has ever had in his life, and he’s going to rescue Sherry no matter what happens to his body in the process.

This means getting into a series of fights with the robbers (Evan Hengst, Conrad Kemp, and Ray Nicholson). He’s nowhere near as tough or skilled as they are, but he can use his condition to his advantage. He can get hit, but he can get back up. He can stall for time by taking a beating or enduring torture until help arrives. He can even use weapons that his enemies are too afraid to touch because they’re scalding hot or submerged in a deep fryer. By the way, is it weird that this movie makes me unusually inclined toward cannibalism with a scene where Caine makes his hand extra-crispy?

This movie can thank its lucky stars for Jack Quaid, whose sincerity and commitment to the character are the only interesting things about the movie. I was really looking forward to seeing Amber Midthunder again after she carried the “Predator” prequel “Prey” in 2022, but she’s disappointing in a predictable role here. Batalon is just playing a less interesting version of his “Spider-Man” sidekick character. Betty Gabriel has some heartfelt moments as a cop, but her character doesn’t have much impact on the story. Perhaps most disappointing is Ray Nicholson as the lead villain. He was so expressive and unnerving last year in “Smile 2,” but I didn’t get any of that from his bland performance here. I’d have let Conrad Kemp carry the load as primary antagonist, he has some scene-stealing qualities about his face.

Caine’s convoluted rescue mission reminded me of the convoluted plot of “Love Hurts” from last month, a movie that I decried while praising Quaid’s performance in “Companion” in the same article. Perhaps it’s appropriate that my opinion of “Novocaine” falls squarely between those two films. This movie could have been a lot more brainless, but I quibble with its predictable story (I guessed one twist just from the trailers), lame characters outside of the lead, and tonal inconsistency. The advertising makes this movie look a lot more comedic than it is. There are gags, to be sure, but there are also long stretches where the movie plays things unexpectedly straight. Not that actors like Quaid and Gabriel aren’t good at playing things straight, but there were times when I noticed I hadn’t laughed for what seemed like several minutes. Like many of the punches Caine takes, this movie wasn’t exactly “painful,” but it certainly didn’t do me much good.

Grade: C

“Novocaine” is rated R for strong bloody violence, grisly images, and language throughout. Its running time is 110 minutes.

Contact Bob Garver at rrg251@nyu.edu.

 

Alain Guiraudie’s Misericordia is an existential drama masquerading as a comedy masquerading as a thriller. The French director, whose best-known film Stateside remains 2014’s sunny, rambling queer mystery Stranger by the Lake, specializes in these kinds of slippery genre hybrids, movies that start off as one thing and eventually become other things, all without ever betraying their essence. Misericordia was a major critical hit in France, where it was nominated for mountains of awards and was named the best film of the year by Cahiers du Cinéma. The director’s shape-shifting narratives, forever flirting with the metaphysical, are obviously a known quantity there. It’ll be interesting to see how Misericordia plays in the U.S., where viewers don’t always enjoy having their expectations confounded.

The film begins in a somber and ominous register, as Jérémie Pastor (Félix Kysyl) returns to the small village of St. Martial where he spent his youth to attend the funeral of the baker for whom he worked and with whose family he lived. Immediately, there is tension with the baker’s son, Vincent (Jean-Baptiste Durand). He and Jérémie were once the best of friends, and perhaps even more than that; now their lives have gone in different directions, and a corrosive, inexpressible conflict seems to be brewing between them. Jérémie also grows close with Martine (Catherine Frot), Vincent’s mom, as they bond over their shared memories of the baker. We sense, again, that perhaps there was more to Jérémie’s relationship with his former boss as well. As if that weren’t enough, Jérémie seems to be quite taken with Walter (David Ayala), a portly, reclusive sad sack of a man living on the outskirts of town.

A Sirkian network of desires lurks just under the surface of the drama: Everybody seems to want somebody else. And all that sublimated desire propels the picture’s thrillerlike elements: Jérémie’s conflict with Vincent gets more dangerous, while his fascination with Walter grows. As a pure narrative, this would be mostly ridiculous, but that’s where Guiraudie’s skill as a filmmaker comes in. He and cinematographer Claire Mathon (Portrait of a Lady on Fire, Spencer) give this landscape, with its rough roads and forest canopies and dramatic cliffs, both lyrical beauty and eerie portent: Immersed in nature and removed from society, everybody’s been reduced to their base desires. As a protagonist, Jérémie also bears some similarities to Terence Stamp’s mysterious ambisexual stranger in Pier Paolo Pasolini’s classico-capitalist allegory Teorema (1968) — and just as Pasolini did, Guiraudie grasps that the more ornamentation you strip away from a tale, the purer its perversity becomes. Reason, it turns out, is the greatest luxury.

Misericordia has elements of rural noir, but it gathers both absurdity and lethality as it progresses. Guiraudie isn’t much for emotion in his actors: An unreadable person, after all, is also an unpredictable person. We start off viewing Jérémie as a victim of others’ assumptions and needs, but as he overstays his welcome in this place, his weird, stony persistence allows us to see how this man could drive everyone around him crazy. And yet, the movie doesn’t provide easy answers to any questions of motivation or morality or justice. Maybe because Guiraudie has other things on his mind. As our protagonist’s increasing desperation reaches comic proportions, we begin to realize that all along we’ve been watching a film about how to continue living in a world where our actions constantly cause misery, uncertainty, and pain.

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Story: A fertility specialist’s life is upended when he is accused of attempted murder. The courtroom drama chronicles his journey as a pioneer in IVF treatment while simultaneously questioning whether he will emerge unscathed from the legal battle that threatens to destroy his legacy.

Review: What happens when someone revered for bringing hope to countless childless couples finds himself at the centre of a scandal? Director Vikram Bhatt’s Tumko Meri Kasam tells one such tale—of visionary IVF specialist Dr. Ajay Murdia (Anupam Kher), who faces allegations of attempted murder. The film navigates dual narratives—his groundbreaking contributions to fertility treatment and the intense courtroom battle that could unravel his life’s work.
Based on a true story, the film sets the stage for a gripping legal drama intertwined with a heartfelt love story from the outset. Rajeev Khosla (Meherrzan Mazda) accuses Dr Murdia of attempted murder, aiming to usurp his position as chairman of Indira IVF, a vast chain of fertility clinics. Running parallel to this conflict is the doctor’s early journey, where a younger Ajay (Ishwak Singh) battles scepticism and social stigma in the 1980s, a time when fertility clinics were often dismissed as ‘sex clinics.’ Facing opposition from peers and family, Ajay finds unwavering support in his wife, Indira (Adah Sharma). Together, they risk everything to revolutionise fertility treatment and bring hope to struggling couples.

While emotionally engaging, writer-director Bhatt’s storytelling wavers between poignant and dramatic. As the story shifts between romance, tragedy, and the legal battle, the ride doesn’t always feel seamless. At two hours and forty-six minutes, the narrative feels long-drawn and follows a formulaic path with songs. The courtroom sequences oscillate between sharply executed and contrived. However, the film’s emotional core remains intact, especially in moments of personal loss, where the younger Ajay and Indira’s bond is portrayed with tenderness, leaving you teary-eyed.

Anupam Kher delivers a solid performance as the steadfast and betrayed Dr Murdia, fiercely fighting for his clinic and reputation. Esha Deol brings finesse as his defence attorney, Meenakshi, though her role lacks depth beyond the courtroom exchanges. Ishwak Singh as the younger Ajay is a standout—his portrayal captures both the empathy and determination of a doctor ahead of his time. His chemistry with Adah Sharma is natural and compelling, making their love story one of the film’s strongest elements. The duo shines in both romantic and emotionally charged scenes, embodying resilience and unwavering faith in each other.

Durgesh Kumar (Bhushan from Panchayat) makes a brief yet powerful impact in a pivotal courtroom scene. Meherrzan Mazda, playing the antagonist, has a substantial role, yet his motivations feel underexplored. His resentment toward Ajay lacks the complexity needed to make him a formidable adversary.

Tumko Meri Kasam has a strong premise but uneven pacing and a lengthy runtime make it less immersive than it could have been. Still, the film is backed by emotional depth and strong performances.