Helmed by Portishead co-founder Geoff Barrow, this scabrous though undernourished debut feature turns a sceptical eye on the ecstasy-fueled club scene. Self-serving drug user David (Marc Bessant) initially steals from an unconscious dealer, then in a later recollection tries to break into his own parents. In no time, he's upside down in the remains of his car in a forest – and subject to the wrathful eye of the Poacher (vocalist Jason Williamson). Declining to free David, with impatience toward townies, he is a fractured society embodied: “You’re one of those loud individuals from up on the heath.”
A Shaky Start and Darkly Funny Confrontation
Game gets off to a shaky start, lingering excessively on pedantically chronicling David’s attempt to extricate himself from his seatbelt, while clumsily segueing into past scenes of his normal activities. The bigger point – that the ecstasy generation 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 arrives, fuming after David kills his dog. Still, a grimly amusing standoff unfolds – David eager to get away; the Poacher withholding his jerrycan of scrumpy, intent on soaking him instead in resentful talk. Williamson, exuding ponderous menace in the role, is evocative of Michael Smiley.
Stylish Imagery and Music Video Sensibility
There is only one key story turn, but it results in a hilariously staged chaotic run on the woodland paths that dips close to rural terror. Director John Minton at last unleashes 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, soundtracked to a wild organ version of Ravel’s Boléro. The movie resembles 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 et al into making the leap from the Brit music promo scene.
The film is in British and Irish theaters from November 17.
