The work of Bristol sound co-founder the musician-producer, this sharp-edged if undernourished first film turns a sceptical eye 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 break into his own family home. In no time, he's overturned in the wreckage of his car in a forest – and subject to the wrathful eye of the Woodsman (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with no time for townies, he is a fractured society embodied: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Darkly Funny Confrontation
Game gets off to a shaky start, spending too long on pedantically chronicling David’s attempt to free himself from his seatbelt, while clumsily segueing into flashbacks of his normal activities. The bigger point – that the rave-era youth were primarily out for themselves – is firmly made. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Woodsman turns up, fuming after David kills his dog. Still, a darkly funny standoff unfolds – David desperate to escape; the Poacher denying his container of cider, intent on soaking him instead in embittered discourse. Williamson, exuding heavy threat in the role, is reminiscent of Michael Smiley.
Stylish Imagery and Music Video Vibe
Just a single key story turn, but it leads to a comically executed rampage 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 artful shots of bugs in headlights in the early stages, he now lets rip with the full psychedelic 21-gun salute, soundtracked to a frenzied keyboard rendition of Ravel’s Boléro. Game feels more like an elongated music video than a fully fledged drama, but there’s enough strident imagery 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 17 November.
