Helmed by Bristol sound co-founder Geoff Barrow, this scabrous though undernourished debut feature casts a critical gaze on 90s rave culture. Venal pillhead David (Marc Bessant) first robs an passed-out supplier, then in another flashback tries to burgle his own parents. In no time, he's upside down in the remains of his car in a forest – and subject to the angry eye of the Poacher (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with impatience toward city dwellers, he is a fractured society personified: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Grimly Amusing Confrontation
Game gets off to a shaky start, spending too long on meticulously detailing David’s attempt to free himself from his safety harness, while awkwardly transitioning into past scenes of his normal activities. The central theme – that the ecstasy generation were mainly focused on number one – is clearly conveyed. But these brief episodes are too thin to properly prime us for what to expect when the Woodsman turns up, fuming after David kills his dog. Still, a darkly funny duel takes hold – David eager to get away; the Poacher withholding his jerrycan of cider, intent on soaking him instead in embittered discourse. Williamson, projecting ponderous menace in the role, is reminiscent of Michael Smiley.
Visual Flair and Promo-Inspired Vibe
There is only one key story turn, but it leads to a hilariously staged chaotic run on the forest trails that dips close to folk horror. Filmmaker John Minton at last unleashes with his showy imagery: where he was focused intently doing impressionistic closeups of insects in the light in the early stages, he now lets rip 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 strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings et al into making the leap from the Brit music promo scene.
Game releases in British and Irish theaters from 17 November.
