The work of Portishead co-founder Geoff Barrow, this sharp-edged if undernourished debut feature turns a sceptical eye on 90s rave culture. Venal drug user David (the actor) initially steals from an unconscious dealer, then in a later recollection tries to break into his own parents. Before you can say, he's overturned in the remains of his car in a forest – and subject to the wrathful eye of the Poacher (Sleaford Mods frontman Jason Williamson). Declining to free David, with no time for city dwellers, he is a fractured society embodied: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Grimly Amusing Confrontation
Game gets off to a shaky start, lingering excessively on meticulously detailing David’s attempt to extricate himself from his safety harness, while awkwardly transitioning into past scenes of his everyday life. The central theme – that the ecstasy generation were primarily out for themselves – is firmly made. But these brief episodes are too thin to properly prime us for what to expect when the Woodsman arrives, enraged after David strangles his dog. Still, a grimly amusing standoff takes hold – David desperate to escape; the Woodsman withholding his jerrycan of scrumpy, intent on dousing him instead in resentful talk. Williamson, projecting heavy threat 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 rampage on the woodland paths that veers toward rural terror. Director John Minton at last unleashes with his ostentatious visuals: where he was focused intently doing impressionistic closeups of bugs in headlights in the opening part, he now lets rip with the full lysergic grand display, accompanied by a frenzied keyboard rendition of Ravel’s Boléro. Game feels more like an elongated music video than a complete narrative, but there’s enough strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings et al into successfully graduating from the UK video industry.
The film is in British and Irish theaters from 17 November.
