After getting his feet wet in shorts and music videos, Chris Nash makes his directorial debut with “In a Violent Nature.” Nash also pens the film’s screenplay. When a locket is extracted from a collapsed fire tower in a wooded area, it triggers the reanimation of the deceased body of Johnny (Ry Barrett), a malevolent spirit driven by a grievous 60-year-old transgression. Intent on reclaiming the locket, Johnny targets a cohort of young vacationers culpable for its removal, methodically eliminating them one by one and any others who impede his pursuit.
In the summer of 2020, Stephen King’s announcement about his unrealized project, ‘I, JASON,’ sparked excitement in the horror community. The project aimed to present a first-person narrative of Jason Voorhees and his repeated deaths at Camp Crystal Lake. However, due to legal complexities, the project remained unrealized. Four years later, we have a film that echoes the spirit of ‘I, JASON,’ offering a unique art-house interpretation of a slasher film from the antagonist’s perspective.
Nash’s profound admiration for classic slasher films is apparent from the outset. He derives satisfaction from portraying explicit and violent deaths, notwithstanding budgetary constraints. Notably, the absence of a musical score enhances the authenticity of the kill scenes. Nash’s prudent avoidance of the pitfalls evident in the 2015 film “Hardcore Henry” is commendable. In contrast to the latter, Nash adeptly employs the subjective camera technique, averting its novelty’s rapid waning.
The victim characters in the film serve no purpose other than to fall victim to Johnny. There wasn’t one character worth rooting for, even the “final girl” who shows up in the third act. Horror fans want to see gore and kill, and “In a Violent Nature” delivers the goods. Avoiding CGI, Nash employs his special effects background to craft highly creative and gory practical effects. The traditional tools of death utilized by Johnny during his rampage include a hatchet and drag hooks, lending a brutal authenticity to his actions. Additionally, recognition must be given to cinematographer Pierce Decks, whose work in “V/H/S 94” left a lasting impression. Decks skillfully guides viewers into the world of Johnny as he stalks his prey, employing a predatory focus akin to the camera’s, utilizing lingering shots to build tension reminiscent of a predator’s gaze.
‘In a Violent Nature’ offers a unique perspective on the slasher genre. It’s enjoyable mainly, but not without its flaws. Despite the film’s brevity, the slow pace may appeal to only some viewers. The abrupt nature of the third act and the revelation of Johnny’s backstory may feel familiar and not resonate positively with some audiences. However, the film’s unique approach and creative execution make it a worthwhile watch for horror enthusiasts.
Final Grade: B
“In a Violent Nature” opens in theaters this Thursday.
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