Workplace invasion thriller “Night of Violence” world premiered at the opening night of London’s FrightFest 2025 at the ODEON Luxe Leicester Square.
In a world where vigilantes are killing corporate CEOs in cold blood as a means of raising awareness about corporate greed, the feature film debut from director Illya Konstantin feels ripped straight from the headlines, offering a visceral and timely take on the ‘profits over people’ narrative. The film is set in the corporate headquarters of a pharmaceutical company, where lower-level and middle management staff are being “treated” to a celebration after the company lands a major legal victory and the launch of a controversial drug. But we quickly learn that the win was at the expense of a group of townspeople who trialed the drug, and now they’ve trapped the employees in the office in an effort to get their revenge.
The first of many issues I take with “Night of Violence” is its inconsistent tone. The movie opens with an on-the-nose satire of pharmaceutical commercials, filled with bright colors and a disgustingly saccharine view of a world where a new drug takes away all your pain. But this in-your-face satire does not carry throughout the film, and it quickly becomes a clumsy juggling match of drama and comedy. The result is a confused viewing experience where you’re often left wondering if the humor was intended or if a serious moment was simply poorly executed.
This tonal whiplash is compounded by the film’s character introductions. We’re quickly introduced to the pharmaceutical company’s cast through a montage of debauchery, leaving you with little to no one to root for. The exceptions are Kit Lang’s Eliott and Abria Jackson’s Janelle, who at least seem to possess a conscience. We’re given snippets of the legal case that sparked this violent invasion, but it’s never enough to make us truly care for the victims or their pain. I spent most of the movie rooting for no one, as there wasn’t strong enough exposition to get me invested in either side. Once the violence breaks out, it feels less like a justified act of revenge and more like a senseless spectacle.
Speaking of violence, the practical effects kills at the start of the invasion are decent, but subsequent moments are ruined by poorly executed CGI blood splatter. However, the film finds its footing in the cat-and-mouse aspect of the story. During these sequences, director Illya Konstantin successfully ratchets up the tension and creates a feeling of claustrophobia as the remaining employees navigate the labyrinth of an under-construction office. These scenes also feature some beautifully shot moments, bathed in blood-red lighting that harken back to the vibrant colors of the Giallo era.
Overall, “Night of Violence” is an ambitious but ultimately flawed debut. While Konstantin didn’t play it safe and succeeded in tackling a hard-hitting topic, the film’s inconsistent tone and lack of character investment prevent its message from fully landing. You want to root for the victims, but the emotional core is so absent that by the final act, you still don’t know who the “right” team is. The result is a film that promises a biting social commentary but delivers a muddled, though sometimes tense, horror film.
