The work of Bristol sound co-founder Geoff Barrow, this sharp-edged though slight first film casts a critical gaze on the ecstasy-fueled club scene. Venal drug user David (the actor) 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 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 embodied: “You’re one of those loud individuals from up on the heath.”
Unsteady Opening and Grimly Amusing Confrontation
Game gets off to a shaky start, lingering excessively on meticulously detailing David’s attempt to free himself from his seatbelt, while awkwardly transitioning into flashbacks of his everyday life. The central theme – that the rave-era youth were primarily out for number one – is clearly conveyed. But these brief episodes are too thin to properly prime us for what to expect when the Woodsman arrives, fuming after David strangles his dog. Still, a darkly funny duel takes hold – David desperate to escape; the Woodsman denying his container of scrumpy, intent on soaking him instead in resentful talk. Williamson, exuding heavy threat in the role, is evocative of Michael Smiley.
Stylish Imagery and Music Video Vibe
There is only one important plot development, but it leads to a comically executed chaotic run on the forest trails that veers toward folk horror. Director 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 grand display, soundtracked to 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 and others into making the leap from the UK video industry.
The film releases in British and Irish theaters from 17 November.
