Helmed by Portishead co-founder the musician-producer, this scabrous though slight first film casts a critical gaze on the ecstasy-fueled club scene. Venal drug user David (Marc Bessant) first robs an passed-out supplier, then in a later recollection tries to break into his own family home. In no time, he's overturned in the remains of his car in a woodland – and subject to the wrathful eye of the Woodsman (vocalist Jason Williamson). Declining to free David, with impatience toward city dwellers, he is a fractured society personified: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Darkly Funny Confrontation
Game gets off to a shaky start, spending too long on meticulously detailing David’s attempt to free 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 firmly made. But these brief episodes are insufficiently developed to adequately prepare us for what to expect when the Woodsman arrives, enraged after David kills his dog. Still, a grimly amusing standoff takes hold – David eager to get away; the Woodsman denying his container of scrumpy, determined to soaking him instead in resentful talk. Williamson, exuding ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Promo-Inspired Sensibility
Just a single important plot development, but it leads to a comically executed rampage on the forest trails that veers toward rural terror. Director 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 psychedelic 21-gun salute, soundtracked to a wild organ version of Ravel’s Boléro. The movie resembles 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 successfully graduating from the Brit music promo scene.
Game is in British and Irish theaters from November 17.
