Produced by Portishead co-founder the musician-producer, this scabrous if slight first film casts a critical gaze on 90s rave culture. Self-serving pillhead David (the actor) initially steals from an unconscious dealer, then in another flashback tries to break into his own family home. Before you can say, he's overturned in the wreckage of his car in a forest – and subject to the wrathful eye of the Woodsman (vocalist Jason Williamson). Refusing to extricate David, with no time for townies, he is broken Britain embodied: “You’re one of those noisy cunts from up on the heath.”
Unsteady Opening and Grimly Amusing Confrontation
The film begins uncertainly, spending too long on pedantically chronicling David’s attempt to extricate himself from his seatbelt, while clumsily segueing into past scenes of his everyday life. The bigger point – that the ecstasy generation were mainly focused on themselves – is clearly conveyed. But these vignettes are too thin to properly prime us for what to expect when the Poacher turns up, fuming after David kills his dog. Still, a grimly amusing duel unfolds – David eager to get away; the Woodsman denying his container of cider, intent on dousing him instead in resentful talk. Williamson, exuding heavy threat in the role, is reminiscent of Michael Smiley.
Visual Flair and Music Video Sensibility
Just a single important plot development, but it results in a hilariously staged rampage on the forest trails that dips close to rural terror. Director John Minton at last unleashes with his showy imagery: where he was hunkered down doing artful shots of insects in the light in the opening part, 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 Brit music promo scene.
The film is in UK and Irish theaters from 17 November.
