Helmed by Bristol sound co-founder Geoff Barrow, this scabrous though slight first film turns a sceptical eye on the ecstasy-fueled club scene. Venal drug user David (the actor) first robs an passed-out supplier, then in a later recollection tries to burgle his own parents. In no time, he's upside down in the wreckage of his car in a forest – and subject to the angry 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 Confrontation
Game gets off to a shaky start, spending too long on meticulously detailing David’s attempt to extricate himself from his seatbelt, while awkwardly transitioning into flashbacks of his everyday life. The bigger point – that the ecstasy generation were mainly focused on themselves – is firmly made. But these brief episodes are too thin to adequately prepare us for what to expect when the Woodsman arrives, enraged after David strangles his dog. Nevertheless, a grimly amusing standoff takes hold – David eager to get away; the Poacher withholding his jerrycan of scrumpy, determined to soaking him instead in embittered discourse. Williamson, exuding ponderous menace 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 veers toward rural terror. Director John Minton at last unleashes with his showy imagery: where he was focused intently doing impressionistic closeups of insects in the light in the opening part, he now lets rip with the full psychedelic grand display, soundtracked to a frenzied keyboard rendition of Ravel’s Boléro. The movie resembles an extended promo than a complete narrative, 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 releases in British and Irish theaters from November 17.
