My review was written in January 1984 after a Times Square screening.
"Slayground" is an unengaging, overly episodic British crime thriller suitable for undiscriminating action audiences.
Self-conscious direction by debuting helmer Terry Bedford, with experience as a cinematographer and tv commercials pilot, recalls in mood and look the flurry of stylish MGM British films noirs of 1970-71 such as "Get Carter" and "Villain". Peter Coyote toplines as Stone, a criminal at the end of his tether after an armored car robbery in pstate New York goes awry, leaving a little girl dead. Her dad vindictively hires a sadistic executioner (Philip Sayer) to kill Stone and his compatriots.
Degerating into a series of barely-connecte stalk-and-terror setpieces, "Slayground" segues mid-film to England, where Stone flees and takes up with an old pal Terry (Mel Smith), who has given up crime and now lives with Madge (Billie Whitelaw), owner of a Blackpool amusement park. After another heist (this time stealing funds from a casino), Stone defeats the executioner in a dull but photogenic final reel set against the fun house backdrop of the empty amusement park.
Maintaining a grim mood of overcast skies, unsympathetic characters and general hopelessness. Bedford and screenwriter Trevor Preston fail to flesh out this tale beyond mere functional requirements. The overlay of backlighting, silhouette shot and gimmickry such as a blood-red color filter over the camera lens during the killings fail to enliven a perfunctory assignment.
Acting is adequate, with Mel Smith making a good impression as Coyote's pudgy pal. Tech credits, particularly the car stunts and special effects explosions, are good.
"Slayground" is an unengaging, overly episodic British crime thriller suitable for undiscriminating action audiences.
Self-conscious direction by debuting helmer Terry Bedford, with experience as a cinematographer and tv commercials pilot, recalls in mood and look the flurry of stylish MGM British films noirs of 1970-71 such as "Get Carter" and "Villain". Peter Coyote toplines as Stone, a criminal at the end of his tether after an armored car robbery in pstate New York goes awry, leaving a little girl dead. Her dad vindictively hires a sadistic executioner (Philip Sayer) to kill Stone and his compatriots.
Degerating into a series of barely-connecte stalk-and-terror setpieces, "Slayground" segues mid-film to England, where Stone flees and takes up with an old pal Terry (Mel Smith), who has given up crime and now lives with Madge (Billie Whitelaw), owner of a Blackpool amusement park. After another heist (this time stealing funds from a casino), Stone defeats the executioner in a dull but photogenic final reel set against the fun house backdrop of the empty amusement park.
Maintaining a grim mood of overcast skies, unsympathetic characters and general hopelessness. Bedford and screenwriter Trevor Preston fail to flesh out this tale beyond mere functional requirements. The overlay of backlighting, silhouette shot and gimmickry such as a blood-red color filter over the camera lens during the killings fail to enliven a perfunctory assignment.
Acting is adequate, with Mel Smith making a good impression as Coyote's pudgy pal. Tech credits, particularly the car stunts and special effects explosions, are good.