By Terry Sherwood
The ever-dependable Slasher genre is built on excess of gore, and nubile victims with such versatility that it can be taken seriously and lampooned the next. Director Chris Nash’s polarizing new film In a Violent Nature” brings us another brutal killer of campers with parts (no pun intended) exploring the fear of expectation.
The tropes of low-budget ’80s slashers are all present such as a sexually active now sarcastic young folk camping near a lake. The protagonist, Johnny, rises from the ruins of a water tower to wreak revenge and seek a piece of jewellery that he covets. The difference in this film is the way that the Director frames the shots often behind the action in the third person. One hears dialogue from behind bushes of the campers that are being stalked in which we learn about their lives and relationships. There is even a sort of ‘Final Girl’ running in the woods again photographed effectively as she is running much a homage to a Classic Horror heroine being pursued through the Castle.
You find out the backstory of Johnny at a campfire in angles often used for dinner party scenes. His origin story is not new nor is his appearance, manner of locomotion throughout the film or the way he kills with the hook, the axe, the chain etc. The standout are the practical effects of the kills which in some cases are quite gory yet not as intense as the Terrifier series or some of the brutal work of Nico Mastorakis. The director chooses not to dwell on the kills with one exception, instead using rapid editing and even long-distance POV in a frame which works well casting the viewer as an observer.
The method of its shooting, the music or absence of and the build-up of tension with long shots of the forest particularly at the conclusion where the audience will be waiting and waiting and waiting. The overall look of In a Violent Nature is its downfall which falls on the Director’s shoulders. Parts of the film look like video a video game such as Dead by Dawn or The Evil Within where those playing are pursued by a hulking killer. The same POV of behind, in front, and above are used in the games leading one to think that those products influenced the film. It works to a point much like the larger budgeted Sam Mendes war film 1917, a story told like a video game that gets to be an irritant particularly when the story is derivative. This video game/survival horror gamers could also be the market for the film which is not the fault of the people making it.
This is not to say that In a Violent Nature does not have merits with some naturalist performances, decent dialogue that flows like improvisation and building tension in the audience with frames of trees with a conclusion that seems odd yet correct. It’s a film in love with the process in points yet missing a story of interest to viewers of the genre. Like most of these pictures, some watch just for the set piece kills with story, plot and characterization being non-essentials which they will be rewarded with well-done practical effects.
Regardless of genre, you are still telling a story. The film title also plays on the fact that the film takes place in a rather picturesque outdoor lake area in Canada. The only thing missing is the haunting sound of Loons on the lake and the wonderful stillness that may break up with you looking to save the level you are at while playing this game.
Bloody Flicks 