MOVIE REVIEW: Violent Night - COMIC CRUSADERS (2024)

“Violent Night” was branded as yet another public domain property with an R-rated twist. In that, Wirkola did not disappoint. But for those looking for a film with a more serious tone, the goofiness in Casey and Miller’s script substituting a much needed dose of black humor leaves much to be desired in a film that is more suited for a straight to streaming release than a full blown theatrical premiere.

The cast is outstanding. With the way David Harbour slung around sledgehammer’s in this picture, it would be better if Chris Hemsworth just took a seat. Leah Brady is as adorable as Alexander Elliot is annoying. There’s not really too much to say about the cast, they all personified their roles and did not seem like they were acting. The reactions within “Violent Night” from each of the cast members are delivered with an air of realism, a feat with a film that is at heart cartoonish and goofy.

My only grievance with Carmen Kotyk’s casting choices is the forced miscegenation within the film. The starring couple (Erik Athavale and Alexis Louder) did not exactly resemble a separated couple. I gleaned that Louder and Brady’s casting were only used as an excuse to enforce divestment and colonialist ideals on the big screen and nothing more. A dark reminder that European lore is celebrated on a wide scale around the world while other cultures (in this case African) through colonialism have had their traditions, lore, and patron saints / deities shrouded or lost forever to history. Such a reality was hard to not see while the film rolled, as it wasn’t hard to hear Dominic Lewis’ score which was ridiculous in all the worst ways.

Though the film’s script excellently draws upon classic Christmas films, decorations, and nods to carols and stories noted to be apart of the commercial holiday while giving it a taste of Mortal Kombat and viking lore that Waititi really should have drew upon (along with reading some comics) while directing his last two dumpster fire’s featuring Thor, the music adds an air of whimsy and cliche to make the film more digestible for casual audiences.

I did not know that “Violent Night” was billed as an action comedy. Had I known, perhaps I would have went easier on Lewis’ musical accompaniment and some of the more cornier jokes in the script that weren’t aimed at the hardcore audience, but as I watched “Violent Night” I felt that parts here were lacking. A tighter editing for the script, a menacing score in place of Lewis’ childish pieces, and a director like maybe Damien Leone would have really brought the violence out of “Violent Night”. A R-Rated feature, I couldn’t help but be upset at Wirkola for panning the camera away during most of the kills and turning his attention back to show the aftermath.

Hardcore movie buffs wanted to see rough realities in drama, gags in comedies and death throes in horror flicks. Again, “Violent Night” is billed as an action/comedy hybrid so there is room for forgiveness that I will allow this picture. But I do believe that Wirkola and company could have leaned more into the action aspects instead of the comedic side of things.

Action packed though as “Violent Night” is, the lack of horror level gore leaves this picture looking tame in comparison to other public domain properties flipped on their lid for cinema. Though David Harbour might one day find himself playing Thunderstrike for the MCU after this role, the limitations of this theatrical cut prevented Harbour from even being in the same sentence as Billy Bob Thorton when it comes to lewdness in the red fat suit and black boots.

Sadly, Wirkola focused more on families here leaving this film more likely to be seen on lists with “Elf” or Tim Allen’s “Santa Claus” series. This resonated throughout the audience, who although appreciated the much needed jolt of masculinity and absurdity on-screen understood that this film could have (and most importantly should have) went further. Leaving “Violent Night” as a success in some respects, but mostly to be remembered as a missed opportunity. When Michael Dougherty’s “Krampus” is colder, there’s a problem on the set.

Score : 2.5/5

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