Produced by Bristol sound co-founder the musician-producer, this scabrous though undernourished debut feature casts a critical gaze on 90s rave culture. Venal pillhead David (Marc Bessant) initially steals from an unconscious dealer, then in another flashback tries to burgle his own family home. In no time, he's overturned in the remains of his car in a woodland – and subject to the angry eye of the Woodsman (vocalist Jason Williamson). Refusing to extricate David, with no time for city dwellers, he is a fractured society personified: “You’re one of those loud individuals 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 seatbelt, while clumsily segueing into flashbacks of his everyday life. The central theme – that the ecstasy generation were primarily out for themselves – is firmly made. But these vignettes are too thin to adequately prepare us for what to expect when the Woodsman turns up, fuming after David strangles his dog. Still, a grimly amusing standoff unfolds – David eager to get away; the Woodsman withholding his jerrycan of scrumpy, intent on dousing him instead in embittered discourse. Williamson, exuding ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Music Video Sensibility
Just a single important plot development, but it leads to a hilariously staged chaotic run on the forest trails that veers toward folk horror. Filmmaker John Minton finally gets to go all in with his ostentatious visuals: where he was focused intently doing artful shots of bugs in headlights in the opening part, he now goes all out with the full lysergic grand display, accompanied by 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 bold visuals to suggest that Minton could follow 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 November 17.
