Produced by Portishead co-founder Geoff Barrow, this sharp-edged if undernourished first film casts a critical gaze on the ecstasy-fueled club scene. Venal pillhead David (Marc Bessant) initially steals from an unconscious dealer, then in another flashback tries to break into his own parents. In no time, he's upside down in the wreckage of his car in a forest – and subject to the wrathful eye of the Woodsman (vocalist Jason Williamson). Declining to free David, with no time for townies, he is a fractured society personified: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start 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 safety harness, while awkwardly transitioning into past scenes of his everyday life. The central theme – that the ecstasy generation were mainly focused on themselves – is firmly made. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Poacher arrives, enraged after David strangles his dog. Still, a darkly funny standoff takes hold – David eager to get away; the Woodsman denying his container of cider, determined to soaking him instead in resentful talk. Williamson, exuding heavy threat in the role, is reminiscent of Michael Smiley.
Visual Flair and Music Video Sensibility
Just a single key story turn, but it leads to a hilariously staged chaotic run on the forest trails that veers toward folk horror. Filmmaker John Minton finally gets to go all in with his ostentatious visuals: where he was focused intently doing artful shots of bugs in headlights in the early stages, he now goes all out with the full psychedelic 21-gun salute, accompanied by a wild organ version of Ravel’s Boléro. Game feels more like an elongated music video than a fully fledged drama, but there’s enough bold visuals to suggest that Minton could emulate Jonathan Glazer, Garth Jennings and others into making the leap from the Brit music promo scene.
Game is in British and Irish theaters from 17 November.
