Produced by Bristol sound co-founder the musician-producer, this scabrous if slight debut feature casts a critical gaze on 90s rave culture. Venal pillhead David (Marc Bessant) initially steals from an unconscious dealer, then in a later recollection tries to burgle his own family home. In no time, he's upside down in the remains of his car in a forest – and subject to the wrathful eye of the Poacher (vocalist Jason Williamson). Declining to free David, with no time for city dwellers, he is a fractured society personified: “You’re one of those loud individuals from up on the heath.”
Unsteady Opening and Darkly Funny Duel
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to free himself from his safety harness, while awkwardly transitioning into past scenes of his everyday life. The central theme – that the ecstasy generation were mainly focused on number one – is clearly conveyed. But these vignettes are insufficiently developed to adequately prepare us for what to expect when the Poacher turns up, enraged after David strangles his dog. Still, a darkly funny duel takes hold – David desperate to escape; the Poacher denying his container of scrumpy, intent on dousing him instead in embittered discourse. Williamson, projecting ponderous menace in the role, is reminiscent of Michael Smiley.
Stylish Imagery and Promo-Inspired Vibe
There is only one important plot development, but it results in a comically executed chaotic run on the forest trails that dips close to folk horror. Filmmaker John Minton at last unleashes with his ostentatious visuals: where he was focused intently doing artful shots of insects in the light in the opening part, he now lets rip with the full lysergic grand display, 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 bold visuals to suggest that Minton could emulate Jonathan Glazer, Garth Jennings et al into making the leap from the UK video industry.
Game is in British and Irish theaters from November 17.
