Produced by Bristol sound co-founder the musician-producer, this sharp-edged though undernourished debut feature casts a critical gaze on 90s rave culture. Venal drug user David (the actor) initially steals from an passed-out supplier, then in another flashback tries to burgle 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). Refusing to extricate David, with impatience toward townies, he is a fractured society personified: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Darkly Funny Duel
Game gets off to a shaky start, spending too long on pedantically chronicling David’s attempt to free himself from his seatbelt, while awkwardly transitioning 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 Poacher turns up, fuming after David kills his dog. Still, a grimly amusing standoff takes hold – David eager to get away; the Poacher withholding his jerrycan of cider, determined to dousing him instead in embittered discourse. Williamson, exuding ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Promo-Inspired Vibe
Just a single key story turn, but it results in a comically executed rampage on the forest trails that veers toward folk horror. Filmmaker John Minton finally gets to go all in with his showy imagery: where he was hunkered down doing impressionistic closeups of bugs in headlights in the early stages, he now lets rip with the full lysergic 21-gun salute, accompanied by a wild organ version of Ravel’s Boléro. The movie resembles an elongated music video than a complete narrative, but there’s enough bold visuals to suggest that Minton could follow Jonathan Glazer, Garth Jennings and others into making the leap from the UK video industry.
The film releases in British and Irish theaters from 17 November.
