The work of Bristol sound co-founder Geoff Barrow, this scabrous though slight first film turns a sceptical eye on the ecstasy-fueled club scene. Self-serving pillhead David (Marc Bessant) initially steals from an passed-out supplier, then in a later recollection tries to burgle his own family home. In no time, he's upside down in the wreckage of his car in a forest – and subject to the angry eye of the Woodsman (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 Grimly Amusing Duel
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to extricate himself from his seatbelt, while awkwardly transitioning into past scenes of his normal activities. The central theme – that the ecstasy generation were primarily out for number one – is firmly made. But these vignettes are too thin to adequately prepare us for what to expect when the Poacher arrives, fuming after David strangles his dog. Still, a grimly amusing standoff takes hold – David eager to get away; the Poacher withholding his jerrycan of cider, determined to soaking him instead in resentful talk. Williamson, projecting ponderous menace in the role, is evocative of Michael Smiley.
Stylish Imagery and Promo-Inspired Sensibility
There is only one key story turn, but it results in a hilariously staged chaotic run on the forest trails that veers toward rural terror. Filmmaker John Minton at last unleashes with his showy imagery: where he was focused intently doing artful shots of bugs in headlights in the opening part, he now lets rip with the full psychedelic 21-gun salute, soundtracked to a wild organ version of Ravel’s Boléro. Game feels more like an elongated music video than a complete narrative, but there’s enough bold visuals to suggest that Minton could follow Jonathan Glazer, Garth Jennings and others into successfully graduating from the UK video industry.
The film releases in British and Irish theaters from 17 November.
