Chris Nash
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But as the film moved along, I began to fall under its spell, seeing the film as more of an art school slow cinema remake of “Friday the 13th” with small homages to other classics of the genre, like the tip of the hat to “The Texas Chainsaw Massacre” that graces its finale (no chainsaws involved) or the antique leather fire helmet Johnny dons that makes him resemble Fincher’s “Zodiac” killer.
Think Gus Van Sant’s Elephant (2003) for an idea as to Nash’s directorial style as we move about with a seemingly purposeless, casual feel. While there it was the daily motions of the doomed, here it’s the heavy-footed trudging of a dead man on a simple mission. The film’s square (or nearly square) aspect ration helps keep our focus in sync with Johnny’s, and the absence of a proper score means our ears are equally in tune with the dead man’s bloody “music.”
Think of Matthew Modine’s character in “Vision Quest,” or Willem Dafoe’s in “The Florida Project.” They methodically go about their business, and over time it becomes a virtue.
He would definitely love Art the Clown from the Terrifier franchise as they’re both characters who waste no time in killing their prey, spilling as much guts and blood as they possibly can.
After the Terrifier films and In a Violent Nature raised the bar on gore, the kills feel pedestrian and, because they’re also pointless, mean.
Whether it is toying with the POV a la “In A Violent Nature”…
We get one-offs; last year’s “In a Violent Nature” comes to mind.
In the same way a stylistically adventurous slasher like last year's "In a Violent Nature" dissatisfied some fans of the subgenre who felt the film's spin on the tropes were an odd fit, "Materialists" includes a character who's been sexually assaulted, and even though it happens offscreen, the introduction of this subject matter comes close to shattering the rom-com spell of the movie.