In a Violent Nature

So guess what... A group of loud and brash twenty-somethings decide to take a weekend break in a remote cabin and manage to arouse the wrath of a long buried corpse who emerges and wreaks havoc on them and the poor old park ranger (Reece Presley). Sound familiar? That's probably because this hasn't an original bone in it's body and after about fifteen minutes I suspect you'll just think these kids actually deserve everything that "Johnny" can come up with. The victims are the usual mix of couples who are together, were together, want to be together; there's the obligatory couple of lesbians (though not for long) and way, way, too many meandering shots of the malevolent critter walking through the woods time and time again. There's some quite entertainingly graphic use of visual effects now and again as he makes good use of his chain, spike, hook and axe - but the big question is: can he be stopped before auteur Chris Nash starts thinking sequel? I suppose the moral of the story is - don't take things that don't belong to you; and maybe if this were shown in primary schools across the country, it might serve as an effective illustration of the risks of violating the seventh commandment. Mercifully, there's not much dialogue to speak of leaving us with a standard forest slasher that will be fine for wallpaper on the television after you've had a few pints.

Slasher fans are going to admire writer / director Chris Nash’s fresh and original, yet still traditional, take on the horror sub-genre with his sadistic film “In A Violent Nature.” With his distinct style and extremely unsettling movie, Nash subscribes to the Terrence Malik school of thought with a “less is more” approach, delivering a visually impactful and terrifying film that’s filled with violence, gore, and a brooding atmosphere that makes it feel wholly unique.

Johnny (Ry Barrett) is a vengeful spirit who is resurrected and ready to deliver payback after a horrific crime that occurred over 60 years ago. Johnny’s been brought back to life when a group of friends remove his treasured locket from his final resting place, a collapsed fire tower that lies deep in the woods. What follows is a methodical slaughter of the group that disturbed his locket, and it is clear that Johnny isn’t going to stop until every single one of them is dead.

Nash’s stylistic choices are so effective here, as he uses long shots of the back of the killer’s head to create a sense of dread without showing his face. He’s hulking and frightening, and being forced to imagine his appearance goes so far in conveying a stone-cold nature that leads to feral and brutal massacres.

Viewers are immersed and walking right alongside the murderer instead of the victims, creating a more penetrating, intimate, and less detached experience, a perspective that’s rarely explored in horror films. It’s disturbing, especially when you consider the killer’s lack of motivation. I was constantly asking “but why?,” and the randomness of his killing spree is what makes it so scary. Simply put, if you’re there, you’re dead.

The movie demands concentration and patience, but rewards viewers with a chilling, atmospheric experience. Heavily reliant on narrative-driven dialogue and visual imagery, the film is suspenseful and clever. Nash lets his camera observe with a detached yet intimate lens, savoring each...

The horror movies of the eighties and their thematic descendants in the early two thousands are clearly classics for a reason. These tropes work because they actually are scary. This movie uses all of the classic gimmicks and tropes and does so very well. It is a joy to watch a slow-paced slasher that thematically works and calls upon those older classics. The casting for this is perfectly reasonable, the directing is good and the effects are practical and outstandingly fitting. It is great to see and I can highly recommend this movie.