POSITIVES<\/span><\/p>\nWhen “Violent Night” finds its way to the nice list, it’s a gut-wrenching powder keg of holiday hysteria, and one that is equal parts “Die Hard” and “Home Alone”, while taking the unconventional path of holiday films that cover every end of the emotional spectrum. It can be funny, primarily when it’s making the most of its limitless R-rating, with unapologetic vitriol towards its adult-emphasized dialogue, with effective resonance more times than not. It can be intense when it illustrates these brutally barbaric action sequences, with ambitious handheld cinematography and razor-sharp sound design conveying blunt impact and devastating deliveries to its many naughty victims. But most surprisingly, it can also give way to a charmingly sweet and inspirational side for the holiday that not only helps to transform our jaded Santa into the cherished figure he was meant to become, but also illustrate what is so vitally important about the season, with regards to that anything is possible kind of feeling that can only be surmised from that one special night. All of this is illustrated seamlessly within the visual familiarity of Wirkola’s comfortable direction, with exaggerated and even silly projects making up the majority of his filmography, and here feeling right at home withing the confines of the movie’s campy plot allowing him to lose himself occasionally in the chaos and carnage of the concept. Helping him attain such merit in the cause is the brilliance of the ensemble, but primarily Harbour and Leguizamo, who inscribe such a rich depth and exuberant energy to their respective characters, who couldn’t be anymore opposite. For David, he finds the perfect balance in the old and weathered Santa who lashes out ruthlessly against his detractors, but also in the warmth and heart of the holiday season giving way to a teddy bear of sorts for those who still believe in him. For John, my unflinching fandom for him afforded me a giddy glee in the never-ending one-liners and expendable scenery that he chews like the biggest, juiciest stick of bubble gum, and one that never loses its flavor with the commanding presence that John maintains each time he reappears on-screen. Similar to John, the film mostly maintains its flavor for entertainment value and consistency among its storytelling, but the absolute best is within the final half hour of the film, where it finally feels like it wholeheartedly embraces the extent of its camp, with an homage to one of the aforementioned holiday classics that by itself earned with it a whole extra point in my final grade. Part of the fun with the sequence isn’t just how they emulate it so faithfully, but also how Wirkola invokes it to the integrity of his tonal consistency, with an adult emphasis transcribing believable reactions in dialogue with the stakes of punishment handed out by those responsible for such carnage candy, invoking the child within me that holds the homaged film so near and dear to my heart, and how I can’t wait to watch it again when it hits streaming.<\/p>\n
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NEGATIVES<\/span><\/p>\nThe film occasionally finds its way to the naughty side of returns, primarily during a second act that is easily the weakness of the film’s three act structure. During this section of the storytelling, much of the pacing slows down consequentially, leading to an abundance of dead spots, a series of inexplainable plot holes, and a completely underwhelming layer of characterization for Santa Claus hints at more fascinating aspects to the character, without exploring in ways that could’ve justified the otherwise too ambitious run time. For the plot holes, some aspects can easily be ignored or mentally sustained based entirely on the campiness of the concept giving way to some silly or downright imaginative instances of reality, but some instances simply stand out like a sore thumb, in turn raising bridges of burden for logic that doesn’t even make sense within the confines of our own world, requiring a little too much suspension for realities that proceeded a bit too distracting as the film persisted. In addition to this, the lack of elaboration on Santa, at least until we have a possible prequel installment, feels like a dramatically missed opportunity in storytelling, with it promising the allure of originality for such a time-honored character, but in execution merely teasing us with trepidation that it downright refuses to capitalize on. Finally, while the intention of the family held in tow is to give stakes and a motive for Santa to fight back, the air of their personalities spoiled the sentiment of what’s worth fighting for. For my money, the trio of the ex-couple and their daughter could’ve been more than enough to attach ourselves to, but it’s every other detestable family member who we have to spend time with as being the movie’s biggest hurdle, taking far too much time away from Harbour, and replacing it with people so shallow and spoiled that you can’t wait for Leguizamo’s band of thugs to off one of them for good measure.<\/p>\n
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OVERALL<\/span>
\n“Violent Night” may take a hot minute to find its footing towards embracing the extent of its B-movie extremes, but it eventually gives in to the indulgence with a David Harbour showcase and several impactfully immersive action set pieces that are every bit devastating as they are delightful. Though the second act nearly saunters Santa’s slay, the climactic third embraces the maniacal magnitude, with everything from 90’s homages, Snowmobile stumbles, and a sledge-wielding Santa among the many giftwrapped presents that continuously keep on giving.<\/p>\nMy Grade: 7\/10 or B<\/p>\n","protected":false},"excerpt":{"rendered":"
Directed By Tommy Wirkola Starring – David Harbour, John Leguizamo, Beverly D’Angelo The Plot – A team of elite mercenaries breaks into a wealthy family compound on Christmas Eve, taking everyone inside hostage. But the team isn’t prepared for a surprise combatant: Santa Claus (Harbour) is on the grounds, and he’s about to show why […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[16,4,21,20],"tags":[],"_links":{"self":[{"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/7309"}],"collection":[{"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7309"}],"version-history":[{"count":1,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/7309\/revisions"}],"predecessor-version":[{"id":7310,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/7309\/revisions\/7310"}],"wp:attachment":[{"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7309"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7309"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7309"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}