Produced by Portishead co-founder Geoff Barrow, this sharp-edged though slight debut feature casts a critical gaze on the ecstasy-fueled club scene. Venal pillhead David (Marc Bessant) initially steals from an passed-out supplier, then in a later recollection tries to burgle his own parents. 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 (vocalist Jason Williamson). Refusing to extricate David, with no time for city dwellers, he is broken Britain embodied: “You’re one of those loud individuals from up on the heath.”
Unsteady Opening and Grimly Amusing Confrontation
The film begins uncertainly, spending too long on pedantically chronicling David’s attempt to free himself from his seatbelt, while awkwardly transitioning into past scenes of his everyday life. The bigger point – that the rave-era youth were mainly focused on number one – is firmly made. But these brief episodes are insufficiently developed to adequately prepare us for what to expect when the Woodsman turns up, enraged after David kills his dog. Still, a darkly funny standoff unfolds – David desperate to escape; the Poacher withholding his jerrycan of scrumpy, intent on soaking him instead in resentful talk. Williamson, exuding ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Promo-Inspired Sensibility
Just a single key story turn, but it leads to a hilariously staged chaotic run on the woodland paths that dips close to folk horror. Director John Minton finally gets to go all in with his showy imagery: where he was focused intently doing artful shots of insects in the light in the early stages, he now lets rip with the full psychedelic grand display, soundtracked to a wild organ version of Ravel’s Boléro. The movie resembles an elongated music video than a complete narrative, but there’s enough bold visuals to suggest that Minton could emulate Jonathan Glazer, Garth Jennings and others into making the leap from the UK video industry.
The film releases in British and Irish theaters from November 17.