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Helmed by Portishead co-founder the musician-producer, this sharp-edged if slight first film casts a critical gaze on the ecstasy-fueled club scene. Self-serving drug user David (Marc Bessant) initially steals from an passed-out supplier, then in a later recollection tries to break into his own parents. Before you can say, he's upside down in the wreckage of his car in a woodland – and subject to the wrathful eye of the Poacher (vocalist Jason Williamson). Refusing to extricate David, with impatience toward city dwellers, he is a fractured society embodied: “You’re one of those noisy cunts from up on the heath.”

Unsteady Opening and Darkly Funny Confrontation

Game gets off to a shaky start, spending too long on pedantically chronicling David’s attempt to extricate himself from his seatbelt, while awkwardly transitioning into flashbacks of his normal activities. The bigger point – that the ecstasy generation were primarily out for number one – is clearly conveyed. But these vignettes are insufficiently developed to properly prime us for what to expect when the Woodsman turns up, fuming after David strangles his dog. Nevertheless, a darkly funny standoff takes hold – David desperate to escape; the Woodsman denying his container of scrumpy, intent on dousing him instead in embittered discourse. Williamson, projecting heavy threat in the role, is evocative of Michael Smiley.

Stylish Imagery and Promo-Inspired Vibe

Just a single key story turn, but it results in a comically executed rampage on the forest trails that dips close to rural terror. Director John Minton at last unleashes with his ostentatious visuals: where he was focused intently doing artful shots of insects in the light in the early stages, he now lets rip with the full psychedelic grand display, accompanied by a wild organ version of Ravel’s Boléro. The movie resembles an extended promo than a fully fledged drama, but there’s enough strident imagery to suggest that Minton could emulate Jonathan Glazer, Garth Jennings and others into making the leap from the UK video industry.

The film is in British and Irish theaters from November 17.