Helmed by Bristol sound co-founder the musician-producer, this sharp-edged if undernourished debut feature turns a sceptical eye on the ecstasy-fueled club scene. Venal drug user David (Marc Bessant) first robs an unconscious dealer, then in a later recollection tries to burgle his own parents. In no time, he's overturned in the remains of his car in a woodland – and subject to the wrathful eye of the Woodsman (vocalist Jason Williamson). Declining to free David, with impatience toward townies, he is broken Britain embodied: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Grimly Amusing Confrontation
The film begins uncertainly, spending too long on meticulously detailing David’s attempt to extricate himself from his safety harness, while awkwardly transitioning into flashbacks of his everyday life. The central theme – that the ecstasy generation were primarily out for number one – is clearly conveyed. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Poacher turns up, enraged after David kills his dog. Nevertheless, a grimly amusing duel takes hold – David eager to get away; the Woodsman denying his container of cider, determined to soaking him instead in embittered discourse. Williamson, exuding heavy threat in the role, is evocative of Michael Smiley.
Stylish Imagery and Promo-Inspired Vibe
There is only one key story turn, but it leads to a hilariously staged rampage 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 goes all out with the full psychedelic grand display, soundtracked to a wild organ version of Ravel’s Boléro. Game feels more like an extended promo than a complete narrative, but there’s enough strident imagery to suggest that Minton could follow Jonathan Glazer, Garth Jennings et al into successfully graduating from the Brit music promo scene.
Game releases in British and Irish theaters from 17 November.
