The act of describing Novocaine is certainly a challenge. Not too many films like this tend to come about all that often anymore, and when they do, they’re mostly defined by a very precise control of tone and register that establishes them as potential cult classics, something that has yet to be bestowed on this film. The film, which was written and directed by David Atkins (who is far from an established name, this being his sole feature directorial effort, with his most significant cinematic contribution being the screenplay to the unconventionally brilliant Arizona Dream a few years prior), is far more obscure than we’d expect from one featuring a cast of this calibre, and a story that has all the trimmings of an underground masterpiece. However, this is not going to be the kind of surgical analysis that tries to get to the root of what makes this a rotten film, but rather an attempt to justify why Novocaine deserves another look, especially from a contemporary standpoint. Not everything should be viewed as a product of its time, and revisiting this film and considering recent directions in which the genre of comedy has gradually gravitated, we find that there’s a significant shift in how we consume these kinds of stories, proving that somehow (by hook or by crook), this film managed to be a subversive and satirical masterwork that may be slightly jagged in some regards, but makes up a lot of these issues through a steadfast commitment to challenging conventions and going in a direction that will leave the audience both enthralled and aghast, sometimes in equal measure.

One of the more peculiar quirks about being a well-regarded, iconic comedic actor is that it almost seems like a rite of passage to star in a film that is defined by a far darker, more sinister tone. Steve Martin is certainly not a stranger to these kinds of works – while his style is far more upbeat and entertaining, he has been known to dabble in the more unsettling styles of comedic expression. Novocaine is one of the most prominent examples of him attempting to broaden his horizons while still riffing on the same kind of genial, eccentric everyman with a hint of broad insanity he has carefully curated over the course of his career. He is certainly in his element here, since he is playing a very simple character that is intentionally complicated by the presence of two dual identities, with one side of him being the straight-laced everyman who is governed by principles, and the other a deeply disturbed individual who is teetering dangerously close on psychosis, which is ultimately only exacerbated by the presence of truly insidious individuals that surround him. It often feels as if Atkins was trying to make something that veered towards a modern retelling of Dr Jekyll and Mr Hyde (just without the same level of prominence afforded to the duality as a literal motif), and Martin is certainly willing to go along for the ride in a very significant way. He’s supported by the likes of Helena Bonham Carter and Laura Dern, who also play characters who feature various shades of villainy in their own right – it’s always wonderful when a film is filled to the brim with the most deplorable characters, which makes perfect sense considering the plot and general themes being explored here.

Dark comedy has rarely been more widely embraced than it is at the present moment – there’s a concerted effort by countless artists to create works that push boundaries, whether it be of decency or the artistic process itself. Two decades ago, a film with this plotline being designed as the vehicle for a major comedic star was either going to be a resounding success, or a dismal failure – and it seems almost certain that in a cinematic landscape where we see many great actors relishing in the opportunity to play with their image in a way that was subversive but secure, that a film like Novocaine would be far more positively received. Atkins is not the strongest writer (contrary to what his self-titled pseudo-documentary series may imply), but he did clearly have a strong vision when crafting this film alongside screenwriter Paul Felopulos, who works with him to create a compelling and darkly comical account of one man’s descent into madness. There’s a cynicism to this film that is likely going to play much better to contemporary viewers, especially in relation to how nihilistic contemporary comedy has gotten – the brutal, vividly detailed violence contrasted with the bleak tone may be off-putting to those who normally expect to see Martin playing a more sophisticated character whose humour is drawn from awkward situations (rather than pitch-black despair), which makes Novocaine such an actively captivating film, since it is pushing the boundaries of good taste, while still being actively entertaining all on its own.

While my perception on Novocaine is far more positive than much of the popular sentiment (with only a few notable critics being in favour of this film and its deranged worldview), it would be foolish to overlook the areas in which it could have substantially improved, especially considering this film was put together by someone who had access to a terrific cast, and what appeared to be a relatively decent budget, which was used well, just perhaps not to the extent it could have gone, at least in comparison to the subject matter. There was a lot of potential here, and it seems like the film was trying to compress too much plot into a relatively short space – there are numerous narrative threads that are introduced but are not fully developed, either being shoehorned into other situations in an attempt to tie them up, or simply abandoned altogether. This creates the feeling of a film that is overstuffed and unnecessarily convoluted, which is not the ideal for such a project, which thrives on its ability to be more subversive and provocative. However, this is only incidental, since the rest of the story is given the treatment it deserved, which is a darkly satirical glimpse into the bleak mind of a mind whose entire life begins to crumble around him as a result of a small infraction that causes him to lose all control of sanity and reason, which leads to a very impressive black comedy that is far more intriguing than it may seem in theory.

Novocaine is a fascinating film that knows exactly how to approach some of the deeper and more unsettling themes that underpin it, being a radical and captivating look into the mind of someone holding onto his sanity by any means necessary. It’s obviously the very definition of an acquired taste, being mainly targeted at those with a taste for the absurd more than it is aiming to be embraced by a much wider audience. This becomes part and parcel of the film and its small but interesting degree of success – where the story falls apart is in some of the smaller decisions made, whether it be how it explores some very complex themes that were perhaps beyond the scope of the film as a whole, or in the more intricately detailed aspects that feel like they are plucked from a more expansive work, or one that was at least more conscious of its limitations. As a whole, Novocaine is a terrific film, an enrapturing, deeply disturbing dark comedy that maintains a very precise sense of humour, and understands exactly how to create something memorable. Perhaps it’s not on the level of bona fide cult classics like The Cable Guy and Death to Smoochy (which are the gold standard for daring films that place cherished comedic actors in very dark roles), but it has the same amount of potential, and it ultimately delivers exactly what it promises, which is a painfully funny and often incredibly offbeat satirical thriller with an abundance of fascinating ideas.