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Film Analysis: Sleaford Mods' Jason Williamson Takes On Role in Sceptical Look at Ecstasy Generation Era

Produced by Portishead co-founder the musician-producer, this sharp-edged though slight first film turns a sceptical eye on 90s rave culture. Venal pillhead David (the actor) first robs an passed-out supplier, then in another flashback tries to break into his own parents. Before you can say, he's upside down in the remains of his car in a woodland – and subject to the wrathful eye of the Woodsman (Sleaford Mods frontman Jason Williamson). Declining to free David, with no time for townies, he is a fractured society personified: “You’re one of those noisy cunts from up on the heath.”

A Shaky Start and Grimly Amusing Duel

The film begins uncertainly, lingering excessively on pedantically chronicling David’s attempt to extricate himself from his seatbelt, while clumsily segueing into past scenes of his everyday life. The bigger point – that the ecstasy generation were mainly focused on themselves – is firmly made. But these brief episodes are too thin to properly prime us for what to expect when the Woodsman arrives, fuming after David kills his dog. Still, a darkly funny duel unfolds – David eager to get away; the Poacher denying his container of scrumpy, determined to dousing him instead in embittered discourse. Williamson, projecting heavy threat in the role, is reminiscent of Michael Smiley.

Visual Flair and Music Video Vibe

There is only one key story turn, but it results in a comically executed rampage on the forest trails that dips close to rural terror. 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 opening part, he now goes all out with the full lysergic 21-gun salute, soundtracked to a frenzied keyboard rendition of Ravel’s Boléro. Game feels more like an extended promo than a fully fledged drama, but there’s enough bold visuals 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.

By

Brandon Jenkins

A digital media strategist with over a decade of experience in UK media innovation and cultural analysis.

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