Produced by Portishead co-founder Geoff Barrow, this scabrous if undernourished first film turns a sceptical eye on 90s rave culture. Self-serving drug user David (Marc Bessant) first robs an passed-out supplier, then in a later recollection tries to break into his own family home. Before you can say, he's upside down in the wreckage of his car in a forest – and subject to the angry eye of the Poacher (vocalist Jason Williamson). Refusing to extricate David, with impatience toward city dwellers, 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 extricate himself from his seatbelt, while awkwardly transitioning into flashbacks of his normal activities. The bigger point – that the ecstasy generation were primarily out for themselves – is firmly made. But these brief episodes are too thin to properly prime us for what to expect when the Woodsman turns up, fuming after David kills his dog. Nevertheless, a darkly funny standoff takes hold – David desperate to escape; the Woodsman withholding his jerrycan of scrumpy, determined to soaking him instead in embittered discourse. Williamson, exuding ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Music Video Vibe
Just a single important plot development, but it results in a comically executed rampage on the woodland paths that dips close to rural terror. Filmmaker John Minton finally gets to go all in with his showy imagery: where he was focused intently doing impressionistic closeups of insects in the light in the early stages, he now lets rip with the full lysergic 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 emulate Jonathan Glazer, Garth Jennings and others into successfully graduating from the UK video industry.
The film is in UK and Irish cinemas from November 17.
