Helmed by Bristol sound co-founder Geoff Barrow, this sharp-edged though slight debut feature casts a critical gaze on 90s rave culture. Self-serving pillhead David (Marc Bessant) first robs an passed-out supplier, then in another flashback tries to break into his own family home. Before you can say, he's upside down in the wreckage of his car in a forest – and subject to the angry eye of the Woodsman (vocalist Jason Williamson). Refusing to extricate David, with impatience toward city dwellers, he is broken Britain personified: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Darkly Funny Duel
The film begins uncertainly, spending too long on meticulously detailing David’s attempt to extricate himself from his safety harness, while awkwardly transitioning into flashbacks of his everyday life. The central theme – that the rave-era youth were primarily out for themselves – is firmly made. But these brief episodes are insufficiently developed to adequately prepare us for what to expect when the Poacher arrives, enraged after David kills his dog. Nevertheless, a grimly amusing standoff takes hold – David desperate to escape; the Poacher denying his container of cider, intent on dousing him instead in resentful talk. Williamson, exuding heavy threat in the role, is reminiscent of Michael Smiley.
Visual Flair and Music Video Sensibility
There is only one key story turn, but it leads to a hilariously staged chaotic run on the woodland paths that veers toward folk horror. Director John Minton at last unleashes with his ostentatious visuals: where he was focused intently doing artful shots of insects in the light in the early stages, he now goes all out with the full lysergic 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 follow Jonathan Glazer, Garth Jennings and others into successfully graduating from the Brit music promo scene.
Game releases in British and Irish theaters from 17 November.
