It speaks so well to the movie that even in its opening scene it manages to swirl together holiday cynicism, holiday magic, and modern comedy, well before the plot picks up for real. Following the title screen writers Pat Casey and Josh Miller, and director Tommy Wirkola, swiftly prove that the first taste was no fluke, for right off the bat this is simply a joy. As we're introduced to our characters we meet a Santa who is all but completely over it all, a deeply divided, mostly unlikable family whose dynamics and personalities recall the Bluth clan of 'Arrested development' (in the original three seasons, when it was funny), and a group of criminals who in their brutality and sobriety represent a distinct foil (well, mostly). Even early on David Harbour fully commands the show with each scene where he dons the red suit, white beard, and black boots, yet with surprisingly strong violence adjoining the bombastic wry humor, in no time 'Violent night' is fabulously entertaining and strings us along for a wild ride that moves fast. I'd heard good word of mouth, but this is even better than I'd hoped!
Anchored by those scant few characters that are likable and sympathetic, there's a meaningful current of earnestness in the storytelling that helps to ground it amidst the cheeky echoes of 'Die hard,' the swarthy smarm of the obscenely rich and powerful, the unabashed blend of action thrills and riotous irreverence, and the pointedly peppy, cheerful soundtrack. (And, okay, also those few sweeping themes that would feel right at home in the latest highfalutin superhero flick.) Casey and Miller penned an outstanding screenplay that twists holiday themes and ephemera into the most delightfully warped interpretations of adrenaline-pumping fight sequences and winking, brazen frivolousness. The characters and dialogue are sharp and biting, the scene writing is unexpectedly smart, clever, and varied, and the narrative is richer and more thoughtful than I could have guessed even as it's liberally peppered with free-wheeling, crimson-soaked ridiculousness. The fact that we even get some inside information on Santa himself is just icing on the cake, to say nothing of "the meaning of Christmas." This is definitely not to count out Wirkola, whose tight direction brings every tiny moment to vivid, invigorating life with equal parts joyfulness and ferocity; 'Violent night' may be a romp, but it's an extraordinarily well made one.
As the writing and direction lay the foundation, that excellence extends to every component part. Where computer-generated imagery is employed it looks great and blends well into the filmed footage; more importantly, the panoply of stunts, practical effects, and fight choreography is phenomenal. Some small moments are genuinely cringe-worthy, some of the blood and gore is entirely over the top, and some bits are so hard-hitting and impactful that if the likes of Jean-Claude Van Damme were subbed in for Harbour, John Leguizamo, or Mitra Suri this could have been any more straightforward action flick. At the same time, the cast give fine, heartfelt performances to realize the fraught emotions of the underlying drama - including even young Leah Brady - and it's readily apparent that the actors are just as capable when it comes to embracing the forcefulness of the violence, the whimsy of the fantastical elements, and the raucousness of the comedy. Even beyond the aspects borne of the action, the setting and scene writing also provides the basis for terrific art direction, costume design, and hair and makeup. Even the props and weapons look splendid, and keen cinematography and editing help to visualize every piece and otherwise shape the picture into a solid, compelling whole.
Somewhere within the last act there does come a point where the tone shifts ever so slightly, and I think it amounts to the comedy fading out as the saga climbs toward its climax. For as much as the title is a zany lark, at its core it relies on a delicate balance between three primary facets of its storytelling; no matter how conscious - and reasonable, within the broad structure of fiction - the reduction of one facet somewhat weakens the whole. (Imagine, if you will, a table with three legs, and one of those legs begins to shrink.) Yet even with this in mind, far more than not the film is so tremendously shrewd and dexterous in every capacity that the loss of some measure of strength in the back end is ultimately rather negligible. It's narrow of purpose and wide of vision, and manages to very ably weave in a wider array of ideas and feelings than one would assume of a Christmas-themed action flick. The central tenet was pure entertainment, yet the skill, intelligence, and sincerity that brings that entertainment to bear is really very impressive. For all the broad praise I'd gathered about 'Violent night' since its release I had every reason to think I'd like it, and still I'm blown away by just how fun and weirdly well-rounded it is. It's safe to say that it won't appeal to everyone, but if you're open to hard-charging action movies, and the swirl of action with comedy, AND the infusion of holiday embellishments, then it's really just hard to go wrong here. Whatever your impetus for watching this 2022 feature is a wonderful time, and I'm happy to give it my very high and enthusiastic recommendation!
Anchored by those scant few characters that are likable and sympathetic, there's a meaningful current of earnestness in the storytelling that helps to ground it amidst the cheeky echoes of 'Die hard,' the swarthy smarm of the obscenely rich and powerful, the unabashed blend of action thrills and riotous irreverence, and the pointedly peppy, cheerful soundtrack. (And, okay, also those few sweeping themes that would feel right at home in the latest highfalutin superhero flick.) Casey and Miller penned an outstanding screenplay that twists holiday themes and ephemera into the most delightfully warped interpretations of adrenaline-pumping fight sequences and winking, brazen frivolousness. The characters and dialogue are sharp and biting, the scene writing is unexpectedly smart, clever, and varied, and the narrative is richer and more thoughtful than I could have guessed even as it's liberally peppered with free-wheeling, crimson-soaked ridiculousness. The fact that we even get some inside information on Santa himself is just icing on the cake, to say nothing of "the meaning of Christmas." This is definitely not to count out Wirkola, whose tight direction brings every tiny moment to vivid, invigorating life with equal parts joyfulness and ferocity; 'Violent night' may be a romp, but it's an extraordinarily well made one.
As the writing and direction lay the foundation, that excellence extends to every component part. Where computer-generated imagery is employed it looks great and blends well into the filmed footage; more importantly, the panoply of stunts, practical effects, and fight choreography is phenomenal. Some small moments are genuinely cringe-worthy, some of the blood and gore is entirely over the top, and some bits are so hard-hitting and impactful that if the likes of Jean-Claude Van Damme were subbed in for Harbour, John Leguizamo, or Mitra Suri this could have been any more straightforward action flick. At the same time, the cast give fine, heartfelt performances to realize the fraught emotions of the underlying drama - including even young Leah Brady - and it's readily apparent that the actors are just as capable when it comes to embracing the forcefulness of the violence, the whimsy of the fantastical elements, and the raucousness of the comedy. Even beyond the aspects borne of the action, the setting and scene writing also provides the basis for terrific art direction, costume design, and hair and makeup. Even the props and weapons look splendid, and keen cinematography and editing help to visualize every piece and otherwise shape the picture into a solid, compelling whole.
Somewhere within the last act there does come a point where the tone shifts ever so slightly, and I think it amounts to the comedy fading out as the saga climbs toward its climax. For as much as the title is a zany lark, at its core it relies on a delicate balance between three primary facets of its storytelling; no matter how conscious - and reasonable, within the broad structure of fiction - the reduction of one facet somewhat weakens the whole. (Imagine, if you will, a table with three legs, and one of those legs begins to shrink.) Yet even with this in mind, far more than not the film is so tremendously shrewd and dexterous in every capacity that the loss of some measure of strength in the back end is ultimately rather negligible. It's narrow of purpose and wide of vision, and manages to very ably weave in a wider array of ideas and feelings than one would assume of a Christmas-themed action flick. The central tenet was pure entertainment, yet the skill, intelligence, and sincerity that brings that entertainment to bear is really very impressive. For all the broad praise I'd gathered about 'Violent night' since its release I had every reason to think I'd like it, and still I'm blown away by just how fun and weirdly well-rounded it is. It's safe to say that it won't appeal to everyone, but if you're open to hard-charging action movies, and the swirl of action with comedy, AND the infusion of holiday embellishments, then it's really just hard to go wrong here. Whatever your impetus for watching this 2022 feature is a wonderful time, and I'm happy to give it my very high and enthusiastic recommendation!