Helmed by Portishead co-founder the musician-producer, this scabrous though undernourished debut feature turns a sceptical eye on 90s rave culture. Self-serving pillhead David (the actor) initially steals from an passed-out supplier, then in a later recollection tries to burgle his own family home. Before you can say, he's overturned in the wreckage of his car in a woodland – and subject to the angry eye of the Woodsman (Sleaford Mods frontman 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.”
A Shaky Start and Grimly Amusing Confrontation
The film begins uncertainly, spending too long on meticulously detailing David’s attempt to extricate himself from his seatbelt, while clumsily segueing into past scenes of his everyday life. The central theme – that the ecstasy generation were mainly focused on 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. Nevertheless, a grimly amusing standoff unfolds – David desperate to escape; the Poacher withholding his jerrycan of cider, determined to soaking him instead in embittered discourse. Williamson, projecting ponderous menace in the role, is reminiscent of Michael Smiley.
Stylish Imagery and Music Video Sensibility
Just a single key story turn, but it results in a comically executed chaotic run on the woodland paths that dips close to rural terror. Filmmaker John Minton finally gets to go all in with his ostentatious visuals: where he was focused intently doing impressionistic closeups of insects in the light in the opening part, 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 strident imagery to suggest that Minton could follow Jonathan Glazer, Garth Jennings et al into successfully graduating from the UK video industry.
The film is in British and Irish theaters from 17 November.
