Helmed by Bristol sound co-founder Geoff Barrow, this sharp-edged if undernourished debut feature turns a sceptical eye on 90s rave culture. Self-serving drug user 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 overturned in the wreckage of his car in a woodland – and subject to the wrathful eye of the Woodsman (vocalist Jason Williamson). Refusing to extricate David, with no time for city dwellers, he is a fractured society embodied: “You’re one of those loud individuals 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 safety harness, while awkwardly transitioning into past scenes of his everyday life. The central theme – that the ecstasy generation were mainly focused on number one – is firmly made. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Poacher turns up, enraged after David kills his dog. Nevertheless, a grimly amusing standoff takes hold – David eager to get away; the Woodsman withholding his jerrycan of scrumpy, determined to dousing him instead in embittered discourse. Williamson, exuding heavy threat in the role, is evocative of Michael Smiley.
Stylish Imagery and Promo-Inspired Vibe
There is only one key story turn, but it leads to a hilariously staged rampage on the forest trails that dips close to rural terror. Filmmaker John Minton at last unleashes with his showy imagery: where he was focused intently doing impressionistic closeups 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 extended promo than a fully fledged drama, but there’s enough bold visuals to suggest that Minton could emulate Jonathan Glazer, Garth Jennings et al into making the leap from the UK video industry.
Game releases in British and Irish theaters from November 17.
