Produced by Portishead co-founder the musician-producer, this scabrous if slight debut feature casts a critical gaze on the ecstasy-fueled club scene. Venal pillhead David (the actor) initially steals from an passed-out supplier, then in a later recollection tries to burgle his own family home. In no time, he's overturned in the remains of his car in a forest – and subject to the wrathful eye of the Woodsman (vocalist Jason Williamson). Refusing to extricate David, with no time for city dwellers, he is broken Britain personified: “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 pedantically chronicling David’s attempt to free himself from his seatbelt, while awkwardly transitioning into past scenes of his normal activities. The central theme – that the rave-era youth were mainly focused on themselves – is firmly made. But these vignettes are too thin to properly prime us for what to expect when the Woodsman arrives, enraged after David kills his dog. Nevertheless, a grimly amusing duel unfolds – David desperate to escape; the Poacher withholding his jerrycan of scrumpy, determined to soaking him instead in embittered discourse. Williamson, projecting ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Promo-Inspired Sensibility
There is only one important plot development, but it leads to a comically executed chaotic run on the woodland paths that dips close to rural terror. Director John Minton finally gets to go all in with his showy imagery: where he was hunkered down doing artful shots of insects in the light in the opening part, he now goes all out with the full lysergic 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 bold visuals to suggest that Minton could emulate Jonathan Glazer, Garth Jennings et al into making the leap from the Brit music promo scene.
The film releases in British and Irish theaters from 17 November.
