Helmed by Bristol sound co-founder Geoff Barrow, this sharp-edged though slight first film turns a sceptical eye on the ecstasy-fueled club scene. Venal drug user David (Marc Bessant) initially steals from an passed-out supplier, then in a later recollection tries to burgle his own family home. Before you can say, he's upside down in the remains of his car in a forest – and subject to the angry eye of the Poacher (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.”
Unsteady Opening 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 seatbelt, while awkwardly transitioning into flashbacks of his normal activities. The central theme – that the ecstasy generation were mainly focused on number one – is firmly made. But these vignettes are insufficiently developed to adequately prepare us for what to expect when the Poacher turns up, fuming after David kills his dog. Still, a grimly amusing duel unfolds – David desperate to escape; the Poacher withholding his jerrycan of cider, determined to soaking him instead in embittered discourse. Williamson, projecting ponderous menace in the role, is evocative of Michael Smiley.
Stylish Imagery and Music Video Sensibility
Just a single important plot development, but it leads to a hilariously staged chaotic run on the woodland paths that veers toward folk horror. Filmmaker 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 goes all out with the full psychedelic 21-gun salute, accompanied by a frenzied keyboard rendition 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 successfully graduating from the UK video industry.
The film releases in British and Irish theaters from November 17.
