The work of Bristol sound co-founder the musician-producer, this sharp-edged though undernourished first film turns a sceptical eye on 90s rave culture. Self-serving pillhead David (the actor) first robs an passed-out supplier, then in another flashback tries to break into his own parents. Before you can say, he's overturned in the wreckage of his car in a woodland – and subject to the angry eye of the Woodsman (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with no time for townies, he is broken Britain 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 seatbelt, while awkwardly transitioning into flashbacks of his everyday life. The bigger point – that the rave-era youth were primarily out for themselves – is firmly made. But these vignettes are too thin to properly prime us for what to expect when the Woodsman arrives, fuming after David strangles his dog. Nevertheless, a grimly amusing standoff takes hold – David desperate to escape; the Poacher withholding his jerrycan of cider, determined to dousing him instead in embittered discourse. Williamson, exuding heavy threat in the role, is reminiscent of Michael Smiley.
Visual Flair and Music Video Vibe
Just a single key story turn, but it leads to a comically executed rampage on the woodland paths that veers toward rural terror. Director John Minton finally gets to go all in with his ostentatious visuals: where he was hunkered down doing artful shots of bugs in headlights in the early stages, he now lets rip with the full lysergic grand display, soundtracked to 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 making the leap from the UK video industry.
The film releases in British and Irish theaters from 17 November.
