Jon Woo returns to Joel Kinnaman, Catalina Sandino Moreno, and Scott Mescudi.
It doesn’t really rise the bar set by the recent string of John Wick movies in the genre, but has its own distinctive flair while utilizing what Brough sugars to the Face/Off auteur.
Not the non-stop display of brutality and the carnage that goes with it, Silent Night works diligently if a bit measuredly on the tagline ‘action speaks louder than words.’ Especially in its sound design and means to avoid scours from a tragic gang-fuel Christmas Eve crossfire. In a way that provides a buffer for the viewer.
Kinnaman’s Brian Godluck isn’t of the jaded policeman or special ops ilk who puts himself on a rigorous May December training regiment that doesn’t sit well with somber wife Says (Moreno). Th laconic approach with judicious use of texting may not yield a similar response as in the popular Kanu Reeves series (also originating from Personal loss).
Yet Woo often finds a way to make the simplicity affecting or intense (in the later from a car chase) or from the use of a red balloon and a soccer ball (in the former) to heighten the feelings around cherished son Taylor. After a wound during the fatal shootout leaves Brian unable to speak with interesting ‘virtual’ looking back intrudes.
All in all this latest Woo escapade may be considered a return to form with a little panache that may be a little gimmicky at times. But this Night works often from Kinnaman’s point visage in getting to the heart of what has ben starry and sorrowfully silent.