'Night of Violence' Review: Slick Style, Hollow Carnage

By Brendan Graham

Director Illya Konstantin’s debut feature, Night of Violence, kicks off with a slick commercial for the miracle drug Azlepta, promising euphoric effects for all who take it. That initial dose of pharmaceutical optimism feels suspiciously too good to be true, and right after the commercial is shown to us, it becomes clear that it absolutely is. The film takes us to a victory party, where a pharmaceutical company is celebrating its win against a class-action lawsuit over the harmful side effects of the drug. Office geek Eliott (Kit Lang) tries to catch the eye of his crush, Janelle (Abria Jackson), while the rest of the office discusses what they are going to do with their raises over bad food and subpar drinks. But the celebration takes a deadly turn when a group of masked intruders slips inside, determined to make someone, anyone, pay for the harm the company has caused the community.

The film tries to tackle some big moral questions, mostly through Eliott, who is pretty much the only character who does not immediately pick a side. He is stuck in the middle, wondering if the attackers have gone too far and if his coworkers are really as innocent as they seem. The killers have lost family and friends to preventable tragedies, but by targeting an office full of workers, many of whom had nothing to do with the decisions that led to the lawsuit, it raises a tough question: does their pain justify such violence? And what about those responsible, are they worthy of forgiveness? Sadly, the film never dives deep enough to give us a satisfying answer until the end, which feels like a missed opportunity for added stakes.

Most of the characters come across as painfully one-dimensional, which makes it hard to care about their fates. While the cast, led by Lang as Eliott, delivers mostly passable performances, they are held back by a screenplay that leans heavily on tired office stereotypes and uninspired dialogue. Many conversations come off as unnatural, like raunchy comedy scripts fed through an AI and spat back out. Some jokes land, but many feel out of place, and the switch between humor and tension could have been handled much more smoothly.

Another drawback is that, despite their violent spree, the killers never quite convey a true sense of menace. Night of Violence does not hold back on brutality, but the relentless bloodshed feels hollow rather than impactful. The murders, while frequent and messy, quickly become repetitive, causing the tension and my interest to wane. There had to be more inventive ways of dispatching pharmaceutical employees, right?

Although the film struggles with storytelling and character development, its cinematography pleasantly stands out. Director of Photography Edgar Luzanilla deserves credit for giving Night of Violence a distinct visual flair. The sterile office setting is used effectively to build a moody atmosphere, and the camera work gives the whole thing a slick, professional sheen that makes it feel more refined than the story around it.

Night of Violence starts with a strong premise but gets weighed down by repetitive violence, one-dimensional characters, and killers who fail to impress. What is frustrating is that there is real potential here, but the film never quite realizes it in time to make a meaningful impact.

Night of Violence had its premiere at London’s FrightFest this year.