Produced by Bristol sound co-founder the musician-producer, this sharp-edged though undernourished first film turns a sceptical eye on the ecstasy-fueled club scene. Venal drug user David (the actor) initially steals from an unconscious dealer, then in a later recollection tries to break into his own parents. In no time, he's overturned in the remains of his car in a forest – and subject to the angry eye of the Poacher (vocalist Jason Williamson). Refusing to extricate David, with impatience toward city dwellers, he is broken Britain embodied: “You’re one of those loud individuals from up on the heath.”
A Shaky Start and Grimly Amusing Duel
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to free himself from his seatbelt, while clumsily segueing into flashbacks of his everyday life. The central theme – that the ecstasy generation were primarily out for themselves – is firmly made. But these vignettes are insufficiently developed to adequately prepare us for what to expect when the Poacher arrives, fuming after David strangles his dog. Still, a darkly funny standoff unfolds – David eager to get away; the Woodsman withholding his jerrycan of scrumpy, determined to soaking him instead in embittered discourse. Williamson, exuding heavy threat in the role, is evocative of Michael Smiley.
Visual Flair and Promo-Inspired Vibe
Just a single key story turn, but it leads to a hilariously staged rampage on the forest trails that dips close to folk horror. Filmmaker John Minton at last unleashes with his showy imagery: where he was focused intently doing impressionistic closeups of insects in the light in the opening part, he now lets rip with the full lysergic grand display, soundtracked to 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 follow Jonathan Glazer, Garth Jennings and others into making the leap from the Brit music promo scene.
The film releases in British and Irish theaters from November 17.
