The work of Bristol sound co-founder the musician-producer, this scabrous though slight first film casts a critical gaze on 90s rave culture. Self-serving pillhead David (Marc Bessant) initially steals from an passed-out supplier, then in another flashback tries to burgle his own family home. In no time, he's upside down in the remains of his car in a woodland – and subject to the angry eye of the Poacher (vocalist Jason Williamson). Declining to free David, with impatience toward townies, he is broken Britain embodied: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Darkly Funny Confrontation
Game gets off to a shaky start, lingering excessively on meticulously detailing David’s attempt to free himself from his seatbelt, while clumsily segueing into flashbacks of his normal activities. The bigger point – that the rave-era youth were mainly focused on themselves – is clearly conveyed. But these vignettes 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 duel takes hold – David eager to get away; the Poacher withholding his jerrycan of scrumpy, determined to dousing him instead in embittered discourse. Williamson, exuding heavy threat in the role, is evocative of Michael Smiley.
Stylish Imagery and Music Video Sensibility
There is only one key story turn, but it leads to a hilariously staged rampage on the forest trails that veers toward folk horror. Director John Minton at last unleashes with his showy imagery: where he was hunkered down doing impressionistic closeups of insects in the light in the early stages, he now lets rip with the full psychedelic 21-gun salute, accompanied by a wild organ version of Ravel’s Boléro. The movie resembles an extended promo 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 UK and Irish cinemas from November 17.
