Film Fests
Brooklyn Horror Film Festival 2025: ‘Violence’ Review
Time and time again, it has been said that horror has always been political. That rings true now more than ever. Sometimes it takes shock, violence, and grotesqueries to get your point across; horror is the perfect medium. Horror exists in a state where you can casually enjoy a film that has deeper meanings lurking below the surface. It’s where saying little can be more important than saying a lot. But sometimes you run into a film that wears its commentary on its sleeve…and sometimes that can be a bit too much.
Violence: A Bloody Tale of Drugs and Deception
Henry Violence (Rohan Campbell) finds himself embroiled in a high-stakes game of life, death, drugs, and deception. The titular [Henry] Violence attempts to locate his former lover, Charlotte (Sarah Grey), in the hopes of saving her life before she falls deeper into despair. Mirroring Violence’s noble fight are Charlie Rocket (Maddie Hasson) and her sidekick Bats (Tomaso Sanelli)–two do-gooder vigilantes attempting to overthrow local drug kingpin Jimmy Jazz (Joris Jarsky). But with power comes imbalance. Who will survive the inherent violence that persists within this alternate 1980s hellscape? Who…will succumb to Violence?
Written by Connor Marsden, Devin Myler, and William Woods, and directed by Marsden, Violence is a confusing, but bloody-as-hell adventure. This film kicks off with flashy, well, violence, and maintains its energy throughout the entire runtime. It’s a fairly cut-and-paste crime thriller that attempts to make a name for itself with dazzling practical effects and a healthy dose of digital enhancements. Marsden knows and understands the tone he wanted to portray, and you cannot fault him for leaning into it. However, that might be a fault for many viewers.
The Film’s Strengths and Weaknesses
Violence is brash in nature. Its violence is unrelenting and harsh. But the film cannot stand on some nifty practical effects alone. Rohan Campbell’s grimacing performance lends much to the impactful nature of the film. For those who only have Corey Cunningham as a reference to Campbell, it’s a departure from the quirky (killer) boy-next-door act he puts on. Campbell has all of the trappings to be one of horror’s next big things, and powerful performances like Henry Violence prove he’s down for the task. Also, a huge shout-out to Sarah Grey, who does a wonderfully respectful Courtney Love-esque performance while still making it completely her own.
Co-writer/director Connor Marsden does show extreme promise with his directorial feature debut. He proves he can bring flash and substance to a story. But it’s the substance of Violence that forced me to waver in my overall enjoyment. It’s hard to get into the details without spoiling the contents of the film, though it’s the message of the story that prompted me to write my soapbox opening paragraph. Violence contains muddled messaging of accepting violence because moderation yields no results; what’s righteous to one is evil to another. That’s the crux of what modern politics are today.
Political Commentary in Horror: Does Violence Miss the Mark?
Marsden’s overall message is that revolution doesn’t really matter. Why bother filling an evil void with good if the good is just as evil as those they sought to overthrow? Horror NEEDS to be a voice for good. Horror needs to force us to ask the hard questions. Instead of doing any of that, Violence throws its hands up in the air and says, “c’est la vie.” Look what happened in Nepal! Moderation is not the answer. I’m not advocating for political violence. I do not believe violence is the answer. But if you’re making a film literally called Violence…then maybe we can have it be the answer just this once.
There’s a lot to enjoy in Violence. If you want to shut off your brain, see some great practical effects, and *checks notes* catch a visual Irreversible homage, then Violence is the film for you. If you want to watch a film that understands how to make a message that knows good versus evil, that knows how to spark a revolution, then Violence won’t be that film. I don’t put any blame on Rohan Campbell for taking this role. This film had every chance to be Campbell’s Eric Draven moment. It just left me wanting a more succinct and well-crafted ideology behind it.
If you’re not watching Indonesian horror, you’re missing out. The region is producing some of the craziest genre movies around right now, thanks in no small part to the efforts of writer-director Joko Anwar. His latest, Ghost in the Cell, which celebrated its North American premiere at Fantastic Fest 2026, combines everything we love about the filmmaker’s work—supernatural scares, inventive kills, and gnarly gore—along with a strong vein of comedy and political satire.
What is Ghost in the Cell About?
Ghost in the Cell centers around Dimas (Endy Arfian), a journalist whose life falls apart after he tries to run a story on corporate corruption and mysterious worker deaths. Wrongfully convicted of the horrific murder of his boss, Dimas finds himself with a one-way ticket to Cell Block C, where he quickly meets a colorful cast of prisoners—the good, the bad, and the seriously nasty. Among the good guys, there’s Anggoro (Abimana Aryasatya), who is constantly getting into trouble for defending fellow inmates, and Six (Yoga Pratama), who claims he can see people’s auras.
As if Dimas’ situation couldn’t get any worse, his arrival seems to trigger a series of brutal killings in the prison. Bodies are showing up mangled beyond recognition and displayed in positions that wouldn’t look out of place in Hannibal. It soon becomes clear that Dimas isn’t behind the murders, which begs the question: what did he bring in with him?
Anwar Embraces Horror-Comedy Whole-Heartedly
Prison is a scary place, and Anwar makes great use of the setting, with the action moving from the dingy showers where predators lurk to the bleak cellblock where inmates are at the mercy of their captors and the cafeteria where rival gangs eye each other up with ill intent.
But for all the human misery contained within the film, Ghost in the Cell is ultimately a horror-comedy, one that isn’t afraid to lean into broad slapstick and quippy dialogue when it wants to raise a chuckle. The tonal shifts can take a little while to adjust to, especially if your previous experience with Anwar comes from his more serious horror outings like Impetigore. This might be a problem if the film wasn’t actually funny, but Ghost in the Cell has enough laugh-out-loud moments to make you forget about any whiplash.
Ghost in the Cell Is a Genre-Bender to the Max
Comedy isn’t the only new flavor that Anwar has tossed into the mix. In Ghost in the Cell, dance sequences and martial-arts fight choreo sit side-by-side with some of the most extreme gore scenes seen outside a Terrifier movie in recent years. Then there’s the eerie way the spirit presents before it kills (trypophobia sufferers, beware) and the extensive critique of political corruption, power, and inequality. It’s an everything-and-the-kitchen-sink approach that shouldn’t work on paper, but under Anwar’s assured hand, it does.
It helps that for all the slapstick, the film lands a surprisingly earnest message, amplified by its vast ensemble cast. Dimas and Anggoro at times feel like main characters, but everyone in Ghost in the Cell has a big part to play, and that’s the point: in seemingly impossible circumstances, there’s strength in unity.
Ghost in the Cell Is an Endlessly Entertaining Blend of Goofiness, Heart, and Gore
If you’re looking for nonstop scares, you won’t find them in Ghost in the Cell. What you will find is a delightful blend of horror, comedy, and action that is apt to leave you grinning from ear to ear.
The film doesn’t skimp on the gore, throwing flesh and fluids at every surface. But it’s also charmingly goofy, with a cast that doesn’t take itself too seriously and a script that’s all too happy to devolve into a comedic dance scene when it feels like the spirit might strike. In every sense, Anwar is doing the most, and the end result is a film where there’s nary a dull moment in sight.
One of the great pleasures of attending Fantastic Fest is the ability to occasionally see movies that won’t be out for many months. That’s especially true with the Secret Screenings, which this year included a work-in-progress print of In a Violent Nature 2, a film that doesn’t even have a release date yet and made for a wildly entertaining midnight movie surprise.
While a few things may change between now and release, the cut shown at Fantastic Fest felt near-final. Here’s what you can look forward to when this sequel eventually slashes its way onto our screens.
Johnny Returns in In a Violent Nature 2
In a Violent Nature 2 picks up right where the action of its predecessor left off, while also introducing new aspects of the lore that slightly contradict or complicate what has already been established, a nod to the way that slasher sequels throw in new plot elements willy-nilly to suit their needs.
The second film centers on Alex (Lucas Nguyen), a quiet 14-year-old kid who misses the bus home from camp because his bullies have stuffed him in a trunk. Since his older sister works at the camp, he gets to hang out for the night while the counselors celebrate the end of the season. Unfortunately, an old fireman’s whistle has drawn the mute, hulking Johnny (Ry Barrett) to the camp—and before long, their night of revelry has turned into one of unimaginable horror.
Less Walking, More Killing
Chris Nash, who wrote and directed the first film, handles scripting duties this time around, with Nate Wilson—who served as first assistant director on the original—stepping into the director role. It feels as though Nash may have listened to viewers’ complaints about how much walking was in the original, because In a Violent Nature 2 takes a break from following Johnny on his lumbering mission. Instead, the camera largely chases Alex through the woods as he runs, trips, and stumbles away from the carnage.
This change is a mixed bag. Alex may be more a dynamic figure to follow overall, but he also makes some frustratingly poor choices, and his teenage moodiness makes him a little unlikeable. The first film also succeeded, in part, because it consciously played into how audiences consume slasher movies, with their sympathies shifting from cheering on the killer to rooting for the final girl when she triumphantly emerges. In a Violent Nature 2 feels like less of a meta-commentary on the slasher genre, though it still has plenty to offer fans of the genre, especially when it comes to kills.
In a Violent Nature 2 Takes the Gore to a Whole New Level
Mention In a Violent Nature to a horror fan and they’ll probably bring up the yoga kill within 10 seconds. For the sequel, Nash and Wilson attempt to up the ante—no small feat considering just how violent the first film was. It’s hard to top that particular kill, but In a Violent Nature 2 certainly gives it the old college try.
Shifting the focus from a single group of friends to an entire summer camp, even one that’s emptying out, instantly ups the potential body count (and harkens back to the slasher films of yore). Counsellors are slaughtered in droves, in ways more brutal than anything seen in the original film, with a few kills in particular sure to get people talking. It’s a real treat for fans of practical effects, and it’s great to see that even horror films positioning themselves as more “elevated” than the typical fare can have fun and get their hands bloody.
A Possible Set up for Another Sequel?
Minor spoilers ahead.
In a Violent Nature 2 feels like something of a response to the reception of the first film, removing what people didn’t like and piling on more of what they did. The result is a movie that feels a little less focused and meditative than its predecessor, but still incredibly fun. And with a third film heavily teased in the final minutes, it seems like we’ll be seeing more of Johnny in the near future. Based on the trajectory of other slashers, can we expect to see him fighting a psychic child next? Or—dare we dream—is he preparing for a trip to space?
Only time will tell. Better lace up your walking shoes.
When Does In a Violent Nature 2 Come Out?
In a Violent Nature 2 is slated to hit theaters sometime in 2026. Keep an eye on IFC Films and Shudder’s socials for more release information as it becomes available.
