Produced by Bristol sound co-founder the musician-producer, this sharp-edged if undernourished first film turns a sceptical eye on 90s rave culture. Self-serving drug user David (the actor) first robs an passed-out supplier, then in a later recollection tries to break into his own parents. In no time, he's upside down in the wreckage 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 a fractured society personified: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Darkly Funny 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 normal activities. The bigger point – that the ecstasy generation were mainly focused on number one – is firmly made. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Woodsman turns up, fuming after David kills his dog. Nevertheless, a darkly funny standoff unfolds – David eager to get away; the Woodsman withholding his jerrycan of scrumpy, intent on 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 key story turn, but it leads to a comically executed rampage on the woodland paths that veers toward rural terror. Director John Minton finally gets to go all in with his showy imagery: where he was hunkered down doing impressionistic closeups of bugs in headlights in the opening part, he now lets rip with the full lysergic 21-gun salute, accompanied by a wild organ version of Ravel’s Boléro. Game feels more like an extended promo than a fully fledged drama, but there’s enough strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings and others into making the leap from the Brit music promo scene.
Game is in British and Irish theaters from 17 November.
