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In a rural backwoods forest, a group of friends discovers a golden locket hanging inside the remnants of a fire tower. One of the men steals the necklace, but this awakens the corpse of Johnny (Ry Barrett), who promptly begins a killing rampage to retrieve the item. Unable to find the locket, he wanders around the area and eventually encounters a group of young people sitting around a campfire, one of whom recounts the urban legend about Johnny. Johnny is the developmentally delayed son of a local merchant, and he was killed after falling from the top of the fire tower during a prank gone wrong. Locals attribute a series of murders in the area to Johnny's vengeful spirit, though nobody in the group actually believes the legend. However, after returning to their cabin for the night, Johnny commences his killing spree, determined to retrieve the locket that was gifted to him by his mother. With Johnny murdering members of the group one by one, they eventually realise that something is wrong and desperately set out to find assistance.
Nash presents the film in a unique, matter-of-fact style, making it feel more like a nature documentary since it does not feature any music or visual flourishes. The resulting sense of atmosphere is incredibly effective at times, particularly with the layered soundscape of the woods, and it is occasionally interesting to watch Johnny's methodical methods. Several conventional kill scenarios are accounted for here, from somebody getting killed while taking a leak on a tree in the dark to another victim meeting their fate while swimming in a lake. There's a satiric energy to such sequences, and the gore effects are top-notch, with Nash never holding back during the most vicious and nihilistic murders. With a mix of practical effects and subtle digital trickery, the kills look exceptional, with modern filmmaking technology allowing for the type of uncomfortably realistic murders that '80s slashers could not achieve with limited financing and resources. Furthermore, the crisp cinematography by Pierce Derks is consistently eye-catching, with sturdy handheld camerawork as Johnny lurches from place to place. Aside from a few missteps (it is a shame the camera doesn't follow Johnny underwater when he enters the lake; this feels like a missed opportunity), the arthouse-esque stylistic approach to In a Violent Nature is breathtaking, particularly with the decision to present the film in the 1.33:1, full-frame aspect ratio.
Despite a mostly strong first half, the picture tapers off during the second half before ending on a tragically anticlimactic note. Unfortunately, Nash continues to rely on slow, methodical pacing during the second half instead of generating a more pronounced sense of momentum, while dumb character behaviours grow more prevalent and difficult to ignore. One protracted kill sequence even gets boring - a dismemberment involving a log splitter that drags on way too long, resulting in boredom and dead air instead of visceral thrills. In a Violent Nature eventually leaves Johnny's side and switches focus to the final girl, but the subsequent conversation in a car is highly disinteresting, closing the movie with a whimper instead of a bang, leaving room wide open for the already-announced sequel. The decision to abandon the original intent and change perspectives right at the end feels baffling instead of logical.
None of the actors make much of an impression, though Barrett is pitch-perfect as the tall, imposing killer who never speaks a word, effectively creating a character through movement and body language. It is perhaps by design, but some of the victims are so obnoxiously unlikeable that it is satisfying to watch them meet their brutal end. Indeed, Nash relishes the chance to embrace genre clichés and showcase his reverence for slasher classics - Johnny even wears an old fireman mask reminiscent of My Bloody Valentine. Although the time period is unclear, the lack of cell phones or contemporary technology suggests a '70s or '80s setting, meaning the victims cannot easily call for help. Although a valiant attempt to inject fresh life into the slasher genre, In a Violent Nature is more dull than tense or unnerving, with Nash unable to take full advantage of the innovative premise.
5.1/10
