The work of Portishead co-founder Geoff Barrow, this sharp-edged though slight first film turns a sceptical eye on 90s rave culture. Venal pillhead David (Marc Bessant) first robs an unconscious dealer, then in another flashback tries to break into his own parents. Before you can say, he's overturned in the remains of his car in a woodland – and subject to the angry eye of the Poacher (vocalist Jason Williamson). Declining to free David, with impatience toward townies, he is broken Britain embodied: “You’re one of those loud individuals from up on the heath.”
Unsteady Opening and Darkly Funny Confrontation
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to extricate himself from his seatbelt, while clumsily segueing into past scenes of his everyday life. The bigger point – that the rave-era youth were mainly focused on themselves – is clearly conveyed. But these vignettes are too thin to properly prime us for what to expect when the Poacher turns up, enraged after David kills his dog. Nevertheless, a darkly funny standoff takes hold – David eager to get away; the Poacher withholding his jerrycan of scrumpy, intent on dousing him instead in resentful talk. Williamson, exuding ponderous menace in the role, is evocative of Michael Smiley.
Stylish Imagery and Music Video Sensibility
There is only one key story turn, but it results in a comically executed rampage on the woodland paths that dips close to folk horror. Filmmaker John Minton finally gets to go all in with his showy imagery: where he was focused intently doing artful shots of bugs in headlights in the early stages, he now goes all out with the full psychedelic 21-gun salute, accompanied by a frenzied keyboard rendition of Ravel’s Boléro. Game feels more like an extended promo than a complete narrative, 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 cinemas from November 17.
