Produced by Bristol sound co-founder Geoff Barrow, this scabrous if undernourished debut feature turns a sceptical eye on 90s rave culture. Venal drug user 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 remains of his car in a forest – and subject to the wrathful eye of the Poacher (vocalist Jason Williamson). Declining to free David, with no time for townies, he is a fractured society embodied: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Grimly Amusing Duel
The film begins uncertainly, spending too long on meticulously detailing David’s attempt to extricate himself from his seatbelt, while awkwardly transitioning into past scenes of his everyday life. The bigger point – that the ecstasy generation were primarily out for themselves – is clearly conveyed. But these brief episodes are too thin to properly prime us for what to expect when the Woodsman turns up, enraged after David strangles his dog. Still, a darkly funny standoff takes hold – David desperate to escape; the Poacher withholding his jerrycan of scrumpy, intent on soaking him instead in resentful talk. Williamson, exuding ponderous menace in the role, is reminiscent of Michael Smiley.
Stylish Imagery and Promo-Inspired Sensibility
Just a single key story turn, but it results in a hilariously staged chaotic run on the woodland paths that veers toward rural terror. Filmmaker John Minton finally gets to go all in with his showy imagery: where he was hunkered down doing impressionistic closeups of insects in the light in the early stages, he now goes all out with the full psychedelic 21-gun salute, accompanied by a wild organ version of Ravel’s Boléro. Game feels more like an elongated music video than a complete narrative, but there’s enough strident imagery to suggest that Minton could follow Jonathan Glazer, Garth Jennings and others into successfully graduating from the UK video industry.
Game releases in British and Irish theaters from November 17.
