Produced by Bristol sound co-founder the musician-producer, this sharp-edged if undernourished debut feature turns a sceptical eye on 90s rave culture. Venal pillhead David (the actor) initially steals from an passed-out supplier, then in another flashback 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 wrathful eye of the Poacher (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with impatience toward city dwellers, he is broken Britain 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, lingering excessively on pedantically chronicling David’s attempt to extricate himself from his safety harness, while clumsily segueing into flashbacks of his everyday life. The bigger point – that the rave-era youth were primarily out for themselves – is firmly made. But these vignettes are too thin to properly prime us for what to expect when the Poacher turns up, enraged after David kills his dog. Still, a darkly funny duel unfolds – David desperate to escape; the Poacher withholding his jerrycan of scrumpy, 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
There is only one key story turn, but it leads to a hilariously staged rampage on the forest trails that veers toward rural terror. Director John Minton at last unleashes with his showy imagery: where he was hunkered down doing impressionistic closeups of insects in the light in the early stages, he now lets rip with the full lysergic grand display, soundtracked to a wild organ version of Ravel’s Boléro. The movie resembles an extended promo than a complete narrative, 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.
Game is in British and Irish theaters from November 17.
