Helmed by Bristol sound co-founder the musician-producer, this scabrous though undernourished first film turns a sceptical eye on 90s rave culture. Self-serving drug user David (Marc Bessant) first robs an passed-out supplier, then in a later recollection 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 wrathful eye of the Woodsman (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.”
A Shaky Start and Grimly Amusing Duel
Game gets off to a shaky start, spending too long on pedantically chronicling David’s attempt to extricate himself from his safety harness, while awkwardly transitioning into past scenes of his normal activities. The central theme – that the rave-era youth were mainly focused on number one – is clearly conveyed. But these vignettes are too thin to adequately prepare us for what to expect when the Poacher arrives, fuming after David strangles his dog. Still, a grimly amusing duel takes hold – David eager to get away; the Woodsman denying his container of cider, intent on dousing him instead in embittered discourse. Williamson, exuding ponderous menace in the role, is reminiscent of Michael Smiley.
Stylish Imagery and Promo-Inspired Vibe
Just a single key story turn, but it results in a hilariously staged rampage on the forest trails that dips close to folk horror. Director John Minton at last unleashes with his ostentatious visuals: where he was focused intently doing impressionistic closeups of insects in the light in the opening part, he now lets rip 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 strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings and others into successfully graduating from the UK video industry.
The film releases in British and Irish theaters from 17 November.
