Produced by Bristol sound co-founder the musician-producer, this scabrous if slight debut feature turns a sceptical eye on 90s rave culture. Venal drug user David (Marc Bessant) first robs an unconscious dealer, then in another flashback tries to burgle his own family home. In no time, 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 impatience toward city dwellers, he is broken Britain embodied: “You’re one of those noisy cunts from up on the heath.”
A Shaky Start and Grimly Amusing Duel
The film begins uncertainly, lingering excessively on meticulously detailing David’s attempt to free 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 number one – is clearly conveyed. But these vignettes are too thin to adequately prepare us for what to expect when the Poacher arrives, enraged after David kills his dog. Nevertheless, a darkly funny duel unfolds – David eager to get away; the Woodsman denying his container of cider, intent on dousing him instead in resentful talk. Williamson, projecting ponderous menace in the role, is evocative of Michael Smiley.
Stylish Imagery and Promo-Inspired Sensibility
Just a single key story turn, but it results in a hilariously staged chaotic run on the woodland paths that veers toward folk horror. Director John Minton at last unleashes with his showy imagery: 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 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 is in British and Irish theaters from November 17.
