Produced by Portishead co-founder Geoff Barrow, this sharp-edged though slight debut feature turns a sceptical eye on the ecstasy-fueled club scene. Self-serving drug user David (Marc Bessant) first robs an unconscious dealer, then in a later recollection tries to burgle his own parents. Before you can say, 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 broken Britain embodied: “You’re one of those loud individuals from up on the heath.”
Unsteady Opening and Grimly Amusing Confrontation
Game gets off to a shaky start, spending too long on meticulously detailing David’s attempt to free himself from his safety harness, while awkwardly transitioning into flashbacks of his everyday life. The bigger point – that the ecstasy generation were mainly focused on number one – is clearly conveyed. But these vignettes are insufficiently developed to adequately prepare us for what to expect when the Woodsman arrives, enraged after David kills his dog. Still, a grimly amusing duel takes hold – David eager to get away; the Poacher denying his container of scrumpy, intent on dousing him instead in resentful talk. Williamson, projecting ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Promo-Inspired Vibe
Just a single important plot development, but it leads to a hilariously staged chaotic run on the forest trails that dips close to rural terror. Filmmaker John Minton finally gets to go all in with his showy imagery: where he was focused intently doing artful shots of bugs in headlights in the early stages, he now lets rip with the full lysergic 21-gun salute, soundtracked to a wild organ version of Ravel’s Boléro. Game feels more like an elongated music video than a complete narrative, 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.
Game is in British and Irish theaters from 17 November.
