Helmed by Bristol sound co-founder the musician-producer, this sharp-edged if slight debut feature turns a sceptical eye on the ecstasy-fueled club scene. Self-serving drug user David (the actor) first robs an unconscious dealer, then in another flashback tries to break into his own parents. In no time, he's upside down in the wreckage of his car in a woodland – and subject to the wrathful eye of the Woodsman (vocalist Jason Williamson). Declining to free David, with no time for townies, he is a fractured society embodied: “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, lingering excessively on pedantically chronicling David’s attempt to extricate himself from his seatbelt, while awkwardly transitioning into flashbacks of his normal activities. The central theme – that the ecstasy generation were primarily out for themselves – is firmly made. But these brief episodes are insufficiently developed to adequately prepare us for what to expect when the Woodsman turns up, enraged after David strangles his dog. Nevertheless, a grimly amusing duel unfolds – David desperate to escape; the Poacher withholding his jerrycan of cider, 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 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 focused intently doing artful shots of insects in the light in the early stages, he now lets rip with the full psychedelic 21-gun salute, accompanied by a wild organ version of Ravel’s Boléro. Game feels more like an extended promo than a fully fledged drama, but there’s enough strident imagery to suggest that Minton could follow Jonathan Glazer, Garth Jennings et al into making the leap from the Brit music promo scene.
Game is in British and Irish theaters from 17 November.
