Helmed by Portishead co-founder Geoff Barrow, this scabrous if slight first film casts a critical gaze on the ecstasy-fueled club scene. Self-serving pillhead 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 overturned in the wreckage of his car in a woodland – and subject to the wrathful eye of the Poacher (vocalist Jason Williamson). Declining to free David, with impatience toward townies, he is a fractured society embodied: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Darkly Funny Duel
Game gets off to a shaky start, lingering excessively on pedantically chronicling David’s attempt to free himself from his seatbelt, while clumsily segueing into past scenes of his normal activities. The central theme – that the rave-era youth were mainly focused on number one – is firmly made. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Woodsman arrives, enraged after David strangles his dog. Nevertheless, a darkly funny standoff unfolds – David desperate to escape; the Poacher denying his container of cider, intent on dousing him instead in resentful talk. Williamson, projecting heavy threat in the role, is evocative of Michael Smiley.
Stylish Imagery and Promo-Inspired Vibe
There is only one important plot development, but it leads to a comically executed chaotic run on the woodland paths that veers toward folk horror. Director John Minton at last unleashes with his showy imagery: where he was hunkered down doing artful shots of bugs in headlights in the early stages, he now goes all out with the full psychedelic grand display, accompanied by a frenzied keyboard rendition of Ravel’s Boléro. Game feels more like an elongated music video than a fully fledged drama, but there’s enough strident imagery 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.
