Helmed by Portishead co-founder the musician-producer, this sharp-edged if undernourished first film turns a sceptical eye on the ecstasy-fueled club scene. Venal drug user David (the actor) initially steals from 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 remains of his car in a forest – 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 noisy cunts from up on the heath.”
Unsteady Opening and Darkly Funny Duel
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to free himself from his safety harness, 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 too thin to properly prime us for what to expect when the Poacher turns up, fuming after David kills his dog. Still, a darkly funny duel takes hold – David desperate to escape; the Poacher withholding his jerrycan of cider, intent on dousing him instead in embittered discourse. Williamson, projecting ponderous menace in the role, is reminiscent of Michael Smiley.
Visual Flair and Music Video Sensibility
Just a single important plot development, but it results in a hilariously staged chaotic run 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 artful shots of insects in the light in the opening part, he now lets rip with the full psychedelic 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 follow Jonathan Glazer, Garth Jennings and others into successfully graduating from the UK video industry.
The film releases in British and Irish theaters from November 17.
