Helmed by Portishead co-founder the musician-producer, this sharp-edged though undernourished first film casts a critical gaze on 90s rave culture. Self-serving pillhead David (the actor) first robs an unconscious dealer, then in another flashback tries to break into his own family home. In no time, he's overturned 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 townies, he is broken Britain personified: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Grimly Amusing Confrontation
The film begins uncertainly, lingering excessively on pedantically chronicling David’s attempt to free himself from his seatbelt, while awkwardly transitioning into flashbacks of his everyday life. The central theme – that the rave-era youth were mainly focused on themselves – is firmly made. But these vignettes are insufficiently developed to adequately prepare us for what to expect when the Woodsman turns up, fuming after David kills his dog. Nevertheless, a grimly amusing standoff unfolds – David eager to get away; the Woodsman withholding his jerrycan 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 Promo-Inspired Vibe
Just a single important plot development, but it results in a comically executed chaotic run on the forest trails that dips close to rural terror. Director John Minton finally gets to go all in with his showy imagery: where he was hunkered down doing impressionistic closeups of bugs in headlights in the early stages, he now goes all out with the full lysergic 21-gun salute, accompanied by a wild organ version of Ravel’s Boléro. The movie resembles an extended promo than a complete narrative, but there’s enough strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings and others into making the leap from the Brit music promo scene.
The film is in British and Irish theaters from November 17.
