Swedish premiere – Siren Competition / Méliès d’Argent
Ninian Doff // Scotland // 2019 // Comedy / Horror // 87 min // Material Pictures / Nowhere
Cast: Eddie Izzard, Alice Lowe, Kate Dickie, Samuel Bottomley, Viraj Juneja, Rian Gordon, Lewis Gribben, Georgie Glen
Language: Scottish English // Subtitles: No Subtitles
Dean (Rian Gordon), Duncan (Lewis Gribben) and DJ Beatroot (Viraj Juneja), a rapper with superstar ambitions, burn down the toilets at their school while trying to find out whether human excrement is flammable or not. After this incident, the teens are presented with a tough choice: being excluded from school or participating in the Duke of Edinburgh Award.
The three troublemakers grudgingly end up going with the trip to the highlands, where they are supposed to learn valuable life lessons while hiking and collaborating with each other.
When they arrive, they realise there is a fourth person joining their team, Ian (Samuel Bottomley) – the nerdiest, most unbearable dork, who is there of his own free will in order to boost his university application.
What the teens don’t know is that they will have to face bigger problems than an overly eager weirdo. A masked, upper-class citizen, somewhat advanced in years (Eddie Izzard) – who the kids mistake for the real Duke of Edinburgh – is joined by a sinister woman who vaguely resembles the Queen. Together, and with murderous intent, the duo begins to hunt the delinquent youngsters as if they were live game while a pair of bumbling police officers believe to have stumbled upon an urban gang of hip-hop-loving terrorists.
Boyz in the Wood is an anarchic blast set to a brilliant ‘Run the Jewels’-heavy soundtrack, worthy of a great music video director such as Ninian Doff, yet without turning a blind eye to generational politics and the UK’s widening age-gap. With some laugh-out-loud moments, a story told through fun visuals and a script that gets better and better as the film advances, Boyz in the Wood is your fix when you’re in need of a refreshing energy boost that culminates in the year’s most bizarre yet wonderful Deus Ex Machina.
Text: Joana Gil-Rico