Helmed by Bristol sound co-founder the musician-producer, this scabrous though undernourished first film casts a critical gaze on 90s rave culture. Self-serving pillhead David (the actor) first robs an passed-out supplier, then in another flashback tries to break into his own family home. Before you can say, he's overturned in the remains of his car in a forest – and subject to the wrathful eye of the Poacher (vocalist Jason Williamson). Declining to free David, with impatience toward townies, he is broken Britain personified: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Grimly Amusing Duel
Game gets off to a shaky start, lingering excessively on pedantically chronicling David’s attempt to extricate himself from his seatbelt, while awkwardly transitioning into flashbacks of his everyday life. The central theme – that the ecstasy generation were mainly focused on themselves – is clearly conveyed. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Woodsman arrives, enraged after David kills his dog. Still, a grimly amusing standoff unfolds – David desperate to escape; the Poacher withholding his jerrycan of scrumpy, determined to soaking him instead in embittered discourse. Williamson, projecting heavy threat in the role, is evocative of Michael Smiley.
Visual Flair and Promo-Inspired Sensibility
There is only one important plot development, but it results in a hilariously staged chaotic run on the forest trails that veers toward folk horror. Director John Minton at last unleashes with his ostentatious visuals: where he was hunkered down doing impressionistic closeups of insects in the light in the early stages, he now goes all out with the full psychedelic grand display, soundtracked to a frenzied keyboard rendition of Ravel’s Boléro. Game feels more like an extended promo than a complete narrative, but there’s enough bold visuals to suggest that Minton could follow Jonathan Glazer, Garth Jennings and others into making the leap from the UK video industry.
The film is in British and Irish theaters from 17 November.
