In a Violent Nature Review — A Shocking Return for the Slasher Genre

In a Violent Nature is the kind of slasher movie in which the camera silently follows the killer for minutes at a time. If that sounds like it would push you beyond the brink of sanity, this movie is not for you. On the other hand, if it sounds like a fascinating exploration of slasher tropes, you’re the target audience. The film’s bold commitment to a unique creative vision will ensure a certain divisive appeal, as will its stunning gore.

Director Chris Nash makes his feature debut with In a Violent Nature. If you know of him at all, it’s likely for his contribution to ABCs of Death 2. Nash cites Friday the 13th and its contemporaries, like The Burning and My Bloody Valentine, as his primary inspirations. He chose to explore that source material through the lens of Gus Van Sant’s Death Trilogy. The heady combination of slow contemplation and brutal murder sums up the film well.

Violence and Nature

In a Violent Nature is a slasher film interrupting a well-shot nature documentary. The modest plot follows Johnny, a hulking revenant animated by revenge. Johnny has a gold locket he really enjoys, but a group of stereotypical teen archetypes snag it from an old fire tower. This prompts Johnny to rise from his unmarked grave and begin the slow, methodical process of hunting down victims and reclaiming his sole possession. The teens take time out to explain the urban legend surrounding Johnny’s fate. It’s all charmingly reminiscent of Friday the 13th, but this isn’t a parody. The film captures the alternative perspective while using familiar tropes as storytelling shorthand. That creative direction forces viewers to examine the killer through a new lens. Most slashers are eventually about the killer, but this one starts from that perspective.

Jason Voorhees is a blank-slate character. He doesn’t have many traits, but people project personality traits and likable details onto him. Johnny takes almost everything from Jason, despite offering a few unique spins. His hockey mask is an old-fashioned fireman’s smoke helmet, and his machete is a pair of hooks attached to a logging chain. He has unique iconography, but unlike Jason, In a Violent Nature follows Johnny at every turn. The film attaches itself to his back, as if it’s a third-person game and he’s your player character. Jason seems to teleport through the woods to catch his prey off-guard, but we watch Johnny stroll leisurely through the woods to his next attack. Aside from a couple of humanizing moments, Nash has no interest in exploring his psychology. He’s an animal, another part of the beautiful forest ecosystem that he inhabits. It’s a surprisingly appealing portrayal.

Don’t Go Into the Woods

The message of In a Violent Nature concerns the awkward push-pull relationship between human beings and their environment. I’m prepared to state that with confidence because the movie has no compunction about telling me its point. A critical scene involves a prolonged monologue in which a bear stands in for Johnny, driving home the central concept. This is not a goofy, slapstick horror film. To my mind, the best Friday the 13th movies come from crews who understand what they’re making. My favorite entry is the sixth, Jason Lives, which made Jason the unkillable zombie fans know and love. It also introduced comedy and gothic horror to the franchise. Chris Nash’s favorite entry is the fifth, which suggests several things about his take on the genre.

In a Violent Nature will appeal not only to the type of person who loves Jason Voorhees but also to those who see potential for something new. If you want something like Jason X, you’re in the wrong place. This is sharper, more dynamic, and more subtle than anything in the Friday the 13th family. On the one hand, the lion’s share of the movie is silent nature footage while Johnny walks miles and miles. On the other, most of the kills are jaw-dropping explosions of gore. This atmospheric jaunt creates an electric feeling of tension. You will get tired of watching Johnny walking slowly, even as the film consistently finds new ways of shooting him. When he reaches his destination, you might find yourself longing for another placid stroll.

In a Violent Nature is the perfect movie for a very specific viewer. It has a tight 94-minute runtime, which is an absolute blessing. Nash demonstrates a sharp eye for aesthetics and imagery, but commitment might be his most noticeable virtue. He shot this film in a 4:3 aspect ratio to capture the feeling familiar to his parents’ household TV. Newcomers may find a new level of respect for the slasher movie genre. I can’t recommend In a Violent Nature to everyone, but if you’re looking for this year’s boldest horror project, you’re in the right forest.