The work of Portishead co-founder Geoff Barrow, this sharp-edged though slight debut feature turns a sceptical eye on the ecstasy-fueled club scene. Self-serving pillhead David (Marc Bessant) initially steals from an unconscious dealer, then in another flashback tries to burgle his own parents. In no time, he's upside down in the remains of his car in a forest – and subject to the angry eye of the Poacher (Sleaford Mods frontman Jason Williamson). Refusing to extricate David, with impatience toward city dwellers, he is a fractured society personified: “You’re one of those loud individuals from up on the heath.”
Unsteady Opening and Darkly Funny Confrontation
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to extricate himself from his safety harness, while clumsily segueing into past scenes of his everyday life. The central theme – that the rave-era youth were mainly focused on number one – is clearly conveyed. But these vignettes are too thin to adequately prepare us for what to expect when the Poacher turns up, enraged after David strangles his dog. Still, a darkly funny duel unfolds – David eager to get away; the Woodsman withholding his jerrycan of scrumpy, determined to dousing him instead in resentful talk. Williamson, projecting heavy threat in the role, is evocative of Michael Smiley.
Visual Flair and Music Video Sensibility
There is only one important plot development, but it results in a hilariously staged chaotic run on the woodland paths that dips close to folk horror. Director John Minton finally gets to go all in with his ostentatious visuals: where he was focused intently doing artful shots of insects in the light in the early stages, he now goes all out with the full psychedelic 21-gun salute, 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 making the leap from the UK video industry.
The film is in British and Irish theaters from November 17.
