The work of Portishead co-founder Geoff Barrow, this scabrous if undernourished first film turns a sceptical eye on the ecstasy-fueled club scene. Venal pillhead David (Marc Bessant) initially steals from an unconscious dealer, then in another flashback tries to burgle his own family home. In no time, he's upside down in the remains of his car in a woodland – and subject to the angry eye of the Poacher (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with no time for townies, he is broken Britain embodied: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Darkly Funny Duel
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to extricate himself from his seatbelt, while clumsily segueing into past scenes of his everyday life. The central theme – that the rave-era youth were mainly focused on themselves – is firmly made. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Woodsman turns up, enraged after David strangles his dog. Still, a grimly amusing standoff takes hold – David eager to get away; the Woodsman denying his container of cider, intent on soaking him instead in embittered discourse. Williamson, projecting heavy threat in the role, is evocative of Michael Smiley.
Stylish Imagery and Promo-Inspired Sensibility
Just a single key story turn, but it results in a hilariously staged chaotic run on the forest trails that veers toward rural terror. Filmmaker John Minton finally gets to go all in with his showy imagery: where he was hunkered down doing artful shots of insects in the light in the opening part, he now goes all out with the full lysergic 21-gun salute, soundtracked to a frenzied keyboard rendition of Ravel’s Boléro. The movie resembles an extended promo than a complete narrative, but there’s enough bold visuals to suggest that Minton could follow Jonathan Glazer, Garth Jennings and others into successfully graduating from the UK video industry.
The film releases in British and Irish theaters from November 17.
