Most of us have some idea about the plot of the film we’re about to watch, but apart from the title–This Game’s Called Murder— I went into this one totally in the dark. Perhaps it was just as well my eyes had that rest beforehand, because writer/director Adam Sherman was about to deal them a thorough workout with his darkly funny, satirical film centered around the powerful Wallendorf family.

We begin with the tranquil image of waves lapping against a sandy shore, overlaid with a soothing voice that could be speaking to us straight from a relaxation CD. The waves turn different colours in response to his hypnotic tones. Then in the next breath a guy in red shorts appears, a red high-heeled shoe comes flying at him, hitting him in the chest, and a moment later the scene switches to what appears to be a stage in some sort of circus where the unfortunate man is suddenly knocked flat by a fusillade of identical shoes, shot from an enormous cannon by scantily-clad ladies.

Did I really just SEE that?

This is our introduction to the Wallendorfs; Ron Perlman (Hellboy, Sons of Anarchy) is perfectly cast as head of the family; a wealthy designer of red high-heeled women’s shoes, the appeal and distribution of which appears to be worldwide…

Natasha Henstridge (Species) plays her part wickedly well as the vicious, scheming matriarch, and Vanessa Marano (Switched at Birth) is daughter Jennifer; young, rebellious, a bit too fond of alcohol, and with a shade more to her than first meets the eye.

This is not a film that will suit fans of linear structure. Trying to keep track of what’s going on will likely result in frustration and a headache, so my best advice would be to just sit back and enjoy the ride.

The tale itself is a fairly simple one, dealing with the age-old themes of good versus evil, integrity, greed and corruption, brought into focus in the modern-day world of the digital consumer. What secrets lie behind the dealings of the Wallendorfs become gradually apparent, but in my view become secondary to the film’s strong visual appeal.

Everything seen (and heard) is dramatically, theatrically over the top; bold and unafraid to stray into the realms of magic realism to deliver the audience a full-on, maximum impact slap in the senses. This for me more than made up for the initial confusion as to what on earth was going on; what kept me watching was entirely down to the sensory elements rather than the desire for satisfaction at the conclusion of a cinematic journey where all loose ends are tidied away. The cinematography is impossible not to appreciate, particularly for the artists among us; an explosive contrast of electric shades of neon against sharp black shadows; film noir meets Technicolor (if such a thing could happen). The music is varied but powerful throughout, a representation of the visual aspects in audio format.

Everything about This Game’s Called Murder is strong and packs a punch; the costumes, characters, sets; all seem like wild caricatures in a surrealist’s fever dream, though a dream intermittently splashed with gouts of real blood.  Being a fan of David Lynch’s Twin Peaks as well as a lover of all things surreal I was content to watch purely for that, but the convolutions of the plot mean this isn’t for everyone. However, if you want to learn more about how deep the red shoe motif goes and can keep up, it may well be worth your time.

6.5 out of 10 Red Shoes