The work of Bristol sound co-founder the musician-producer, this scabrous if undernourished first film turns a sceptical eye on the ecstasy-fueled club scene. Self-serving drug user David (Marc Bessant) first robs an unconscious dealer, then in another flashback tries to burgle his own family home. Before you can say, 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). Declining to free David, with no time for city dwellers, he is broken Britain personified: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Darkly Funny Duel
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to free himself from his seatbelt, while awkwardly transitioning into flashbacks of his normal activities. The central theme – that the rave-era youth were mainly focused on number one – is clearly conveyed. But these vignettes are too thin to adequately prepare us for what to expect when the Woodsman turns up, enraged after David strangles his dog. Nevertheless, a grimly amusing duel takes hold – David eager to get away; the Woodsman denying his container of scrumpy, intent on dousing him instead in resentful talk. Williamson, projecting ponderous menace in the role, is reminiscent of Michael Smiley.
Visual Flair and Music Video Vibe
Just a single important plot development, but it leads to a comically executed chaotic run on the woodland paths that veers toward rural terror. Director John Minton finally gets to go all in with his showy imagery: where he was focused intently doing artful shots of bugs in headlights in the opening part, he now lets rip with the full lysergic 21-gun salute, accompanied by a wild organ version of Ravel’s Boléro. The movie resembles an elongated music video than a fully fledged drama, but there’s enough strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings et al into successfully graduating from the Brit music promo scene.
The film is in British and Irish theaters from 17 November.
