Ask any trick, and they will tell you: the ability to sell the strike is just as important, and maybe more than a reliable throw. Ask any editor or sound designer and they will confirm this, and then some. If you have ever watched raw daily newspapers from an action movie, you will notice how weird many combat sequences are when they are robbed of the rhythm and the satisfying sound of their body. All this is to say that the action in the cinema is so incredibly depending on the sale of the overall effect of violence, even more than the stunts of show-binding and feats of strength and dexterity. Since it's all at the time, it's no wonder that so many excellent action directors either originate or are skilled in a comedy - from Buster Keaton to Jackkeepy Chan.

However, there are just as many excellent action directors coming from the horror world, too. Of course, there is a certain comedy overlap, of course in terms of making a time of intimidation or sequence for killing. However, there is a quality that people of horror have over pure comedy or people with pure action is that their killings tend to have much greater impact and brutality than most. The directors of the horror know that here is not just a scream and a piece that makes the violence that lasts in the mind. It is just as psychological as it is visceral, which means they need to include the imagination of the audience, while still providing bloody products.

As proof of this, do not look away from The new issue of this weekend "Novokain", Action film that struggles in several other genres, including Roma-Com, movie noir and yes, comedy. While "Novokain" could not be accurately described as a horror movie, his action sequences still have a lot of advantage for them. It is partly because of the premise - the hero of the film, Nathan Caine, suffers from a condition that prevents him from feeling pain, which means he can take more beatings from most regular people. However, this is also because directors Dan Berk and Robert Olsen come from the horror themselves, and although "Novokain" is their first action movie, they have already received so much of the trainings they need to take action from horror.

While horror comedy is a genre hybrid that most people are aware of a long and varied history, it feels like a horror action hybrid is the one that is less discussed. It does not mean that it is less prevalent; Far from it, such as "Predator", "Blade", "Overlord", this year the "Gorge" and approximately all the production of gems during the 2000s and 2010s (which includes a lot of franchises "Resident Evil" and "Underworld").

In most of these films, the emphasis is firmly on the action than on the horror - with the exception of a few scenes, no one expects these films to scare the audience as much as to excite them. However, the horror elements add further charges to the action, increasing stakes by incorporating threats such as vampires, zombies and other beer instead of only human beings. Even when the film is more fantasy-action or scientific action than horror-like films "Lord of the Rings", or "upgrade", Or "65" - you can bet that the director united in horror is behind him. Only in those examples, you have the likes of Peter Acksexon ("Brindadead/Dead Alive", Lee Vanel ("invisible man") and Scott Beck and Brian Woods ("Eretic"), all veterans of the genre.

In addition to rubbing and mixing action movies with horror tropes and techniques, sometimes you have to make all the horror directors to give the set pieces to their action film and kill a little extra OMF to create more influence. Sam Rayimi's "Spider-Man" fans constantly highlight the scene of "Spider-Man 2", with Dr. Ottavius ​​(Alfred Molina) turning into Doc OK and his newly intelligent robotic tentacles Attack on the staff of the hospital room in the true style of "wicked dead". Caron Carpenter gave the "Escape from New York" a grateful sense of reality thanks to his mastery of timing and tone. The Jameses Van took the lessons he learned on Saw and Dead Tilence to borrow the "death penalty" of the brutality he needed, and then followed "insidious" and "conjunction" with "furious 7", allowing the other world to look at that last film.

Perhaps one of the best examples of a horror director carrying extra sauce in his action movies is Renny Harlin, who began his career With horror films "Prison" and "Nightmare on ELM 4: Lord of Dreams". As such, his subsequent action efforts, namely "Die Hard 2", "Cliffhanger" and "The Long Kiss Goodnight", all the murders that would not be in a desirable film, but still borrow the action film only the real spice.

Early in Novokaine, when Nathan describes his condition of Jerry (Amber Midtunder), an associate with which he is for Loveben, she exciting shouts that this makes a kind of superhero - a reconciliation that Nathan denies. It turns out that both are right: while Nathan's ability helps him to gain the courage to chase Jerry after his kidnapping and fight some bad dudes, that doesn't mean he is invincible. Just because he does not feel the pain, does not mean that his injuries do not affect him in other ways. It is thanks to this mixture of a strong genre and a foundation reality that Berk and Olsen can get away with some truly nasty trampling in the film and still maintain a sense of danger, while not allowing the film's violence to become too realistic to be disturbing.

Thus, "Novokain" has tonight of moments that highlight pain and bodily damage, only to respond to Nathan. Nathan experiences everything from stabbing and shot to his hand fried in oil, and Berk and Olsen plays the audience as a fortune -teller by showing the contrast between what is happening physically on Nathan until he allowed him to prevent him emotionally. In the end, Nathan even learns to use this shutdown in his favor, first by slamming his fists in broken glass to create makeshift brass -bodies and then withstand torture that will break the most normal people, but hardly stages. By the time he uses one of his protruding bones to force the enemy, he is almost supernatural in his creative brutality.

However, it is imperative that Nathan remains more than every person than a superhero or monster, so Berk and Olsen smartly emphasize the comedy of emotional shutdown more than the terror of the damage. This makes "Novocaine" a little aspirational film about the body's horror, which is a really rare thing. At every turn, it is clear that Berk and Olsen use their knowledge of horror (stemming from their previous films such as "villains" and "important others") to improve the action, which is something that every action director should strive to do, regardless of their background. Directed by great action is how to be in a successful music band: you can't just play the hits, you also have to sell them.