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It doesn’t take long to realize Connor Marsden’s VIOLENCE has the makings of a midnight madness cult classic. A film where an alternate 1980’s is run by street gangs decked out in punk rock attire and both a synth soundtrack combined with true to form punk rock music (performed with awesome force by Nowhere2run) aids the entire movement. It is also a film that is just bloody as all hell soaking its cast members in gooey blood like they were at the most messed up Kids Choice Awards were the slime is now human remains. But what truly makes VIOLENCE enter midnight fun territory is its ability to not just entertain but horrify with its late night nihilism that can only be found by those that walk the streets too late into the night when evil runs high. Marsden in his feature directorial debut has a clear vision due to his love of punk rock that creates its own unique brand while also still heavily wearing the influences of some other cult classics that have had decades to define themselves. And while VIOLENCE isn’t able to hold the same intensity or passion that some of its predecessors have it still provides a rocking good time that proves that punk never went away and will forever be here to stay fighting right back in your face.

A robbery gone wrong, blood on the streets and punk rock blasting out the radio. VIOLENCE wants to begin with bloodshed because it knows it is the kind of film that will not only be defined by it, but also one that refuses to let up. When Charlie Rocket (Maddie Hasson) and her little brother Bats (Tomaso Sanelli) pull off a brutal robbery from a local crime gang it sets off a wave of relation from all the surrounding gangs. What could play as an modern day American city is the backdrop for a world run by graffiti wasteland of thunderous rocking soundtracks and even tougher citizens that have to fight, steal and even kill just to get a loaf of bread. If you are not on the streets fighting then you are in the underground clubs rocking to some punk music smashing your anger out into the closest body near you. But with a robbery gone wrong means payback and for crime lord Jimmy Jazz that means roping in some old friends. Enter Henry Violence (Rohan Campbell) a former addict Henry once a member of Jimmy’s gang believed himself to be out of the game but with his former lover and partner in drugs Charlotte (Sarah Grey) now missing, Henry must return home to find her and pay some old debts. Campbell an actor who has already made quite the name for himself in the horror world with 2022’s controversial “Halloween Ends, “ this year’s “The Monkey” and now the upcoming “Silent Night, Deadly Night” remake. Campbell is a perfect fit for messed up horror. His boyish looks allow for a sincere charm all while met with a quiet built up rage that is as badass as it is haunting. VIOLENCE doesn’t just give Campbell another spot at the forefront it damn well puts the actor through the wringer.

Believed to be part of the robbery, Henry must prove his innocence, find Charlotte and somehow make it out of the night alive. Marsden and his entire production crew seem to have a blast creating a Mad Max in a neon blood soaked world. As Henry ventures out and encounters nothing but foe (even his old friends are out to get him) the film takes an excitingly brutal path as Henry finds himself trapped by Charlie Rocket and Bats bringing the film to its most gruesome moments that would make anyone pray for a good pair of socks. Credit to the foley and sound design team are doing what most horror films seem to lack on and that is a good sound production of the grotesque. Sometimes the visuals are enough and other times you get a movie like VIOLENCE where you want to just pull out all the punches.

But where VIOLENCE separates itself is in its heart. A sentimental component that both helps and harms the film. We learn that Henry is the reason for Charolette’s addiction and through some flashbacks we get some truly endearing moments showing Campbell’s range. However the film seems to rush this aspect in present day while still making it the basis of the film or at least Henry’s motivation. A film that is wonderfully inspired by “Streets of Fire” it seems to keep its own Diane Lane creation a little too distant. Sarah Grey as Charolette is not given enough weight that whenever the film jumps back to her it feels less of movement and more standstill. But this is also where VIOLENCE gets its most enjoyable nihilism from as the film never promises anything close to a happy ending and yet there is still a bit of shock when brutality continues to take over. Campbell as a performer is drenched in blood and the filmmakers (and performer) seem to delight in this choice allowing for Henry to always feel like both a full lived in character as well as a prop for the film to bend and twist anyway it desires.

Even as VIOLENCE finds itself to an abrupt finale it already feels like a film you will want to return to again and again. Perhaps it is because there is a promise of more to come even with some finality. Or maybe it is because even for its short runtime thrill ride VIOLENCE is a film that plays best on those late nights when you just need something hardcore to engage in and let the madness take over. No matter the reason Connor Marsden is a talent to keep an eye out for and be ready for the next punk show, bloody feet and all. 

B

VIOLENCE SCREENED AT THE 2025 BROOKLYN HORROR FILM FESTIVAL.