Helmed by Bristol sound co-founder Geoff Barrow, this sharp-edged if slight first film casts a critical gaze on 90s rave culture. Venal pillhead David (Marc Bessant) initially steals from an unconscious dealer, 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 wrathful eye of the Woodsman (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with no time for city dwellers, he is broken Britain personified: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Grimly Amusing Duel
The film begins uncertainly, spending too long on meticulously detailing David’s attempt to extricate himself from his safety harness, while awkwardly transitioning into past scenes of his everyday life. The central theme – that the ecstasy generation were primarily out for number one – is firmly made. But these brief episodes are insufficiently developed to properly prime us for what to expect when the Woodsman turns up, fuming after David strangles his dog. Still, a darkly funny duel takes hold – David desperate to escape; the Poacher withholding his jerrycan of scrumpy, determined to dousing him instead in embittered discourse. Williamson, projecting heavy threat in the role, is evocative of Michael Smiley.
Stylish Imagery and Music Video Vibe
Just a single key story turn, but it results in a comically executed rampage on the woodland paths that veers toward folk horror. Director John Minton at last unleashes with his ostentatious visuals: where he was hunkered down doing artful shots of bugs in headlights in the opening part, he now goes all out with the full lysergic grand display, accompanied by a wild organ version of Ravel’s Boléro. Game feels more like an extended promo than a fully fledged drama, but there’s enough strident imagery to suggest that Minton could follow Jonathan Glazer, Garth Jennings and others into successfully graduating from the Brit music promo scene.
The film releases in British and Irish theaters from November 17.
