Helmed by Portishead co-founder the musician-producer, this sharp-edged though slight first film casts a critical gaze on 90s rave culture. Self-serving pillhead David (Marc Bessant) initially steals from an passed-out supplier, then in a later recollection tries to burgle his own parents. In no time, he's upside down in the wreckage of his car in a forest – and subject to the angry eye of the Poacher (Sleaford Mods frontman 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.”
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 safety harness, while clumsily segueing into past scenes of his everyday life. The central theme – that the rave-era youth were primarily out for number one – is clearly conveyed. But these vignettes are too thin 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 denying his container of cider, intent on soaking him instead in embittered discourse. Williamson, exuding heavy threat in the role, is evocative of Michael Smiley.
Visual Flair and Music Video Sensibility
There is only one important plot development, but it leads to a hilariously staged chaotic run on the woodland paths that veers toward folk horror. Director John Minton finally gets to go all in with his showy imagery: where he was focused intently doing artful shots of insects in the light in the opening part, he now goes all out with the full psychedelic 21-gun salute, 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 strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings et al into making the leap from the Brit music promo scene.
Game releases in British and Irish theaters from November 17.
