SILENT NIGHT: A Cross Between “The Punisher” and “John Wick” in a Dialogue-Free Action Film

Cinema has always loved showcasing avengers and the revenge they exact. It’s no surprise, then, that John Woo, an expert in stylized action films featuring spectacular but highly unrealistic shootouts, chases, and fights—even by genre standards—decided to tap into this narrative trope. The Asian filmmaker’s last American movie was 2003’s Paycheck, starring Ben Affleck. With Silent Night, he makes his return to the land of hamburgers after two decades. This return is, in essence, more intimate and grounded compared to his earlier offerings—but let’s take it step by step.

On Christmas Eve, as a result of gang rivalries, Brian (Joel Kinnaman) and Saya’s (Catalina Sandino Moreno) son is killed. Devastated, the father sets out to chase down the criminals but ends up being shot in the throat. Miraculously surviving and recovering from his injuries, Brian, now voiceless, sinks deeper into despair, wasting his days drinking and reliving those tragic moments. One day, however, something snaps, and he decides to take justice into his own hands.

If I had to describe the film in one sentence, I’d say it’s a cross between The Punisher (Brian strongly reminded me, visually as well, of Thomas Jane) and Death Wish, with perhaps a pinch of John Wick. From The Punisher, it borrows the central narrative arc—although, of course, similar stories abound in cinema. From Death Wish, it takes the idea of having the protagonist be an ordinary person rather than a highly trained commando who thrives amid whizzing bullets and explosions. Instead, Brian is an amateur consumed by an obsession with revenge. As a complete novice, he has to learn how to fight, shoot, and more, which gives a fresh feel compared to other action protagonists. From Keanu Reeves’ hit series, it adopts the choreography of shootouts.

A particularly interesting choice is rendering Brian voiceless. Woo tells the story almost entirely through visuals, with virtually no dialogue except for a few sparse lines and background sounds. Joel Kinnaman had to rely solely on facial expressions and gestures to convey his character’s emotions and turmoil—and he did an excellent job. The weight of the entire film rests on his shoulders, with the camera fixed on him throughout. This experimental approach also effectively highlights Brian’s gradual dehumanization, as he transforms from a heartbroken, hopeless father into a cold, ruthless killing machine targeting gang members. This impression is further enhanced by the complete lack of humor—even The Punisher had moments of dark or grotesque comedy, but here, everything is dead serious.

It’s also evident that Woo has toned down his usual flair. While the action scenes are visually impressive, they fall far short of the bombastic sequences seen in his earlier works. The director himself has noted that he aimed to create a more modest, somewhat realistic film where emotions play an important role alongside the fights, chases, and shootouts. This goal is partially achieved—though perhaps only to the extent that a film of this genre requires. The promotional poster might be misleading, as it suggests a holiday-themed action movie. While the prologue and finale take place on December 24th, there’s little sense of Christmas spirit. This may be because the film is set in Texas, with not a flake of snow in sight. Additionally, the story takes a bit too long to get going; the first forty minutes feel like a slow and somewhat dull build-up.

Silent Night won’t become a classic that audiences discuss for years or rank alongside Die Hard or Lethal Weapon. However, it’s a decent entry in its genre. When the protagonist takes out gang members and we feel that the villains are getting what they deserve, the film seems to have fulfilled its purpose.