Produced by Portishead co-founder the musician-producer, this scabrous if slight first film turns a sceptical eye on 90s rave culture. Self-serving drug user David (Marc Bessant) first robs an passed-out supplier, then in another flashback tries to burgle his own family home. 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 townies, he is a fractured society personified: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Darkly Funny 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 past scenes of his normal activities. The central theme – that the ecstasy generation were primarily out for themselves – is firmly made. But these vignettes are insufficiently developed to properly prime us for what to expect when the Woodsman arrives, enraged after David strangles his dog. Still, a grimly amusing standoff unfolds – David desperate to escape; the Woodsman denying his container of cider, intent on soaking him instead in resentful talk. Williamson, projecting ponderous menace in the role, is evocative of Michael Smiley.
Stylish Imagery and Music Video Vibe
There is only one important plot development, but it leads to a hilariously staged rampage on the woodland paths that veers toward folk horror. Director John Minton at last unleashes with his ostentatious visuals: where he was hunkered down doing impressionistic closeups of bugs in headlights in the early stages, he now lets rip with the full lysergic grand display, soundtracked to a wild organ version of Ravel’s Boléro. The movie resembles 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 UK video industry.
The film releases in British and Irish theaters from November 17.
