Produced by Bristol sound co-founder Geoff Barrow, this sharp-edged if slight debut feature casts a critical gaze on the ecstasy-fueled club scene. Self-serving drug user David (the actor) first robs an passed-out supplier, then in a later recollection tries to burgle his own family home. In no time, he's overturned in the remains of his car in a forest – and subject to the angry eye of the Poacher (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with impatience toward townies, he is broken Britain embodied: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Grimly Amusing Duel
The film begins uncertainly, spending too long on pedantically chronicling David’s attempt to extricate himself from his seatbelt, while clumsily segueing into past scenes of his everyday life. The bigger point – that the rave-era youth were mainly focused on themselves – is firmly made. But these vignettes are insufficiently developed to adequately prepare us for what to expect when the Woodsman turns up, fuming after David strangles his dog. Still, a grimly amusing duel unfolds – David desperate to escape; the Poacher denying his container of scrumpy, determined to dousing him instead in embittered discourse. Williamson, projecting heavy threat in the role, is reminiscent of Michael Smiley.
Visual Flair and Music Video Sensibility
There is only one key story turn, but it leads to a hilariously staged rampage on the woodland paths that veers toward rural terror. Filmmaker John Minton finally gets to go all in with his ostentatious visuals: where he was hunkered down doing impressionistic closeups of insects in the light in the early stages, he now lets rip with the full lysergic 21-gun salute, soundtracked to a frenzied keyboard rendition of Ravel’s Boléro. Game feels more like an extended promo than a fully fledged drama, but there’s enough bold visuals to suggest that Minton could follow Jonathan Glazer, Garth Jennings et al into successfully graduating from the UK video industry.
Game releases in British and Irish theaters from November 17.