In a Violent Nature
IFC Films | Release Date: May 31, 2024 CRITIC SCORE DISTRIBUTION
68
METASCORE
Generally favorable reviews based on 26 Critic Reviews
Positive:
19
Mixed:
7
Negative:
0
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Critic Reviews

Critic scorePublicationBy date
60
EmpireJohn NugentJul 15, 2024
This is a bold, unusual and gorgeously realised take on the very familiar slasher template — even if it doesn’t quite live up to its innovative promise. Read full review
60
Little White LiesHannah StrongJul 12, 2024
The film’s final scene is also a chilling subversion of normal expectations for the climax of a campground slasher, but the lacklustre 90 minutes that precede it mean that by the time we trudge to the forest’s boundaries, there’s little reason to care who comes out of the blood bath on top. Read full review
60
The New York TimesJeannette CatsoulisMay 30, 2024
Claiming inspiration (in the film’s press notes) from Terrence Malick and others, Nash has attempted an ambitious blend of art house and slaughterhouse whose rug-pulling ending will polarize, even as its moody logic prevails. Read full review
60
Screen RantGraeme GuttmannApr 25, 2024
Writer and director Chris Nash's In A Violent Nature may be the first slasher in a long time to truly deconstruct the genre in a way that feels surprising, even if the results of its experiment are mixed. Read full review
58
The Film StageJohn FinkApr 25, 2024
This isn’t quite a nuanced study in violence, despite its title. Shot in northern rural Ontario, Canada in a generic backwoods called White Pines, the film ultimately feels hollow despite the deliberate cinematography by Pierce Derks. Read full review
50
IndieWireDavid EhrlichApr 25, 2024
It’s a breathless ending, but the juice hardly feels worth the squeeze by the dying minutes of a noble failure that trims all of the trappings off of the slasher genre until there’s nothing left but a monster, an old mask, and — in Nash — a seriously promising talent who could use a little bit more to work with next time. Read full review
40
The TelegraphTim RobeyJul 11, 2024
This is the trouble with nihilism as a foundation for horror: it can’t quicken the pulse, drum up scares, or elicit any fruitful response from the viewer at all. Being impressed with a whole lot of nothing doesn’t mean we are. Read full review
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