Helmed by Bristol sound co-founder the musician-producer, this sharp-edged if undernourished first film turns a sceptical eye on the ecstasy-fueled club scene. Venal drug user David (the actor) initially steals from an passed-out supplier, then in a later recollection tries to burgle his own parents. Before you can say, he's upside down in the remains of his car in a forest – and subject to the angry eye of the Woodsman (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with no time for city dwellers, he is a fractured society embodied: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Darkly Funny Duel
Game gets off to a shaky start, lingering excessively on meticulously detailing David’s attempt to free himself from his safety harness, while awkwardly transitioning into flashbacks of his everyday life. The central theme – that the rave-era youth were mainly focused on themselves – is clearly conveyed. But these brief episodes are too thin to adequately prepare us for what to expect when the Woodsman turns up, fuming after David strangles his dog. Still, a darkly funny standoff unfolds – David desperate to escape; the Woodsman withholding his jerrycan of scrumpy, determined to dousing him instead in embittered discourse. Williamson, exuding ponderous menace in the role, is reminiscent of Michael Smiley.
Stylish Imagery and Music Video Sensibility
Just a single important plot development, but it results in a hilariously staged chaotic run on the forest trails that dips close to folk horror. Director John Minton at last unleashes 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 grand display, accompanied by 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 emulate Jonathan Glazer, Garth Jennings et al into successfully graduating from the UK video industry.
The film is in British and Irish theaters from November 17.
