Helmed by Bristol sound co-founder the musician-producer, this sharp-edged though slight debut feature turns a sceptical eye on the ecstasy-fueled club scene. Self-serving pillhead David (Marc Bessant) first robs an passed-out supplier, then in another flashback tries to burgle his own parents. In no time, he's overturned in the remains of his car in a woodland – and subject to the angry eye of the Woodsman (vocalist Jason Williamson). Declining to free David, with impatience toward city dwellers, 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, lingering excessively on meticulously detailing David’s attempt to extricate himself from his safety harness, while clumsily segueing into flashbacks of his normal activities. The central theme – that the rave-era youth were primarily out for themselves – is clearly conveyed. But these vignettes are too thin to properly prime us for what to expect when the Woodsman arrives, fuming after David strangles his dog. Still, a darkly funny duel unfolds – David eager to get away; the Woodsman denying his container of cider, determined to dousing him instead in embittered discourse. Williamson, exuding heavy threat in the role, is reminiscent of Michael Smiley.
Visual Flair and Promo-Inspired Vibe
There is only one important plot development, but it leads to a hilariously staged rampage 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 opening part, he now goes all out with the full lysergic grand display, accompanied by a wild organ version of Ravel’s Boléro. Game feels more like an extended promo than a complete narrative, but there’s enough strident imagery to suggest that Minton could follow Jonathan Glazer, Garth Jennings et al into making the leap from the Brit music promo scene.
The film releases in British and Irish theaters from November 17.
