Helmed by Bristol sound co-founder Geoff Barrow, this sharp-edged though slight first film turns a sceptical eye on 90s rave culture. Venal pillhead 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 woodland – and subject to the wrathful eye of the Woodsman (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.”
A Shaky Start and Grimly Amusing Confrontation
Game gets off to a shaky start, lingering excessively on pedantically chronicling David’s attempt to free himself from his safety harness, while awkwardly transitioning into past scenes of his everyday life. The central theme – that the rave-era youth were mainly focused on themselves – is firmly made. But these vignettes are too thin to properly prime us for what to expect when the Woodsman turns up, enraged after David strangles his dog. Nevertheless, a grimly amusing standoff unfolds – David desperate to escape; the Woodsman denying his container of cider, intent on dousing him instead in embittered discourse. Williamson, projecting heavy threat in the role, is reminiscent of Michael Smiley.
Stylish Imagery and Promo-Inspired Sensibility
There is only one key story turn, but it leads to a hilariously staged rampage on the forest trails that dips close to folk horror. Director John Minton at last unleashes with his showy imagery: where he was focused intently doing artful shots of bugs in headlights in the early stages, 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 extended promo than a fully fledged drama, but there’s enough strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings and others into successfully graduating from the Brit music promo scene.
The film releases in British and Irish theaters from November 17.
