Helmed by Portishead co-founder the musician-producer, this sharp-edged though undernourished debut feature turns a sceptical eye on the ecstasy-fueled club scene. Venal pillhead David (the actor) initially steals from an unconscious dealer, then in a later recollection tries to break into his own family home. In no time, he's overturned in the wreckage of his car in a forest – and subject to the angry eye of the Woodsman (vocalist Jason Williamson). Refusing to extricate David, with no time for townies, he is a fractured society embodied: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Grimly Amusing Confrontation
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to free himself from his seatbelt, while clumsily segueing into flashbacks of his everyday life. The central theme – that the rave-era youth were primarily out for number one – is firmly made. But these vignettes are too thin to properly prime us for what to expect when the Poacher arrives, fuming after David strangles his dog. Nevertheless, a grimly amusing standoff unfolds – David desperate to escape; the Woodsman withholding his jerrycan of scrumpy, intent on dousing him instead in resentful talk. Williamson, projecting ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Music Video Vibe
Just a single key story turn, but it leads to a hilariously staged chaotic run on the forest trails that veers toward rural terror. Filmmaker John Minton finally gets to go all in with his ostentatious visuals: where he was hunkered down doing impressionistic closeups of bugs in headlights in the early stages, he now goes all out with the full psychedelic grand display, accompanied by a frenzied keyboard rendition 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 follow Jonathan Glazer, Garth Jennings et al into making the leap from the Brit music promo scene.
Game releases in British and Irish theaters from November 17.