Produced by Bristol sound co-founder the musician-producer, this scabrous though slight first film casts a critical gaze on 90s rave culture. Self-serving drug user David (the actor) first robs an unconscious dealer, then in another flashback tries to break into his own family home. Before you can say, he's overturned in the remains of his car in a forest – and subject to the angry eye of the Poacher (Sleaford Mods frontman Jason Williamson). Declining to free David, with no time for city dwellers, he is a fractured society embodied: “You’re one of those loud individuals from up on the heath.”
A Shaky Start and Grimly Amusing Confrontation
Game gets off to a shaky start, lingering excessively on meticulously detailing David’s attempt to free himself from his safety harness, while clumsily segueing into past scenes of his everyday life. The bigger point – that the rave-era youth were mainly focused on number one – is firmly made. But these vignettes are too thin to properly prime us for what to expect when the Poacher arrives, fuming after David kills his dog. Nevertheless, a darkly funny standoff unfolds – David desperate to escape; the Poacher withholding his jerrycan of scrumpy, intent on soaking him instead in embittered discourse. Williamson, exuding ponderous menace in the role, is evocative of Michael Smiley.
Visual Flair and Music Video Sensibility
Just a single key story turn, but it results in a comically executed chaotic run on the woodland paths that veers toward rural terror. Filmmaker John Minton finally gets to go all in with his showy imagery: where he was hunkered down doing artful shots of bugs in headlights in the early stages, he now lets rip with the full psychedelic 21-gun salute, accompanied by a frenzied keyboard rendition 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 et al into successfully graduating from the Brit music promo scene.
The film releases in British and Irish theaters from 17 November.
