Produced by Portishead co-founder Geoff Barrow, this scabrous if slight first film casts a critical gaze on 90s rave culture. Self-serving pillhead David (the actor) initially steals from an unconscious dealer, then in another flashback tries to burgle his own family home. Before you can say, he's overturned in the wreckage of his car in a woodland – and subject to the wrathful eye of the Poacher (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.”
A Shaky Start and Grimly Amusing 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 clumsily segueing into past scenes of his everyday life. The central theme – that the rave-era youth were primarily out for number one – is clearly conveyed. But these vignettes are insufficiently developed to adequately prepare us for what to expect when the Poacher turns up, enraged after David strangles his dog. Nevertheless, a grimly amusing standoff takes hold – David eager to get away; the Poacher denying his container of cider, 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
Just a single key story turn, but it leads to a comically executed rampage on the forest trails that dips close to folk horror. Filmmaker John Minton at last unleashes with his ostentatious visuals: where he was focused intently doing artful shots of insects in the light in the opening part, 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 strident imagery to suggest that Minton could follow Jonathan Glazer, Garth Jennings et al into making the leap from the UK video industry.
The film releases in British and Irish theaters from November 17.
