Helmed by Bristol sound co-founder Geoff Barrow, this sharp-edged though undernourished debut feature turns a sceptical eye on the ecstasy-fueled club scene. Self-serving drug user David (Marc Bessant) first robs an unconscious dealer, then in a later recollection tries to burgle his own family home. In no time, he's upside down in the wreckage of his car in a forest – and subject to the wrathful eye of the Poacher (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with no time for townies, he is broken Britain personified: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Grimly Amusing Duel
Game gets off to a shaky start, spending too long on meticulously detailing David’s attempt to free himself from his safety harness, while clumsily segueing into flashbacks of his everyday life. The central theme – that the ecstasy generation were mainly focused on number one – is clearly conveyed. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Woodsman arrives, enraged after David strangles his dog. Nevertheless, a grimly amusing duel takes hold – David desperate to escape; the Poacher denying his container of scrumpy, intent on dousing him instead in embittered discourse. Williamson, exuding heavy threat in the role, is reminiscent of Michael Smiley.
Stylish Imagery and Music Video Sensibility
Just a single key story turn, but it results in a hilariously staged chaotic run on the woodland paths that veers toward rural terror. Director John Minton finally gets to go all in with his showy imagery: 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, accompanied by 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 bold visuals to suggest that Minton could emulate Jonathan Glazer, Garth Jennings and others into making the leap from the UK video industry.
The film is in British and Irish theaters from 17 November.
