The work of Bristol sound co-founder the musician-producer, this sharp-edged if undernourished first film casts a critical gaze on the ecstasy-fueled club scene. Venal drug user David (Marc Bessant) first robs an unconscious dealer, then in a later recollection tries to burgle his own parents. In no time, he's upside down in the wreckage of his car in a woodland – and subject to the angry eye of the Woodsman (vocalist Jason Williamson). Refusing to extricate David, with impatience toward city dwellers, he is broken Britain embodied: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Darkly Funny Confrontation
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to extricate himself from his seatbelt, while clumsily segueing into flashbacks of his normal activities. The bigger point – that the rave-era youth were primarily out for number one – is clearly conveyed. But these vignettes are too thin to adequately prepare us for what to expect when the Woodsman turns up, fuming after David kills his dog. Nevertheless, a grimly amusing duel unfolds – David desperate to escape; the Woodsman denying his container of cider, determined to soaking him instead in embittered discourse. Williamson, projecting ponderous menace in the role, is reminiscent of Michael Smiley.
Visual Flair and Promo-Inspired Sensibility
Just a single important plot development, but it leads to a hilariously staged rampage on the forest trails that dips close to folk horror. Filmmaker John Minton finally gets to go all in with his ostentatious visuals: where he was hunkered down doing artful shots of bugs in headlights in the early stages, he now lets rip with the full psychedelic 21-gun salute, soundtracked to a wild organ version 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 follow Jonathan Glazer, Garth Jennings et al into making the leap from the UK video industry.
Game is in British and Irish theaters from November 17.
