'Special effects' takes longer than I would like to really pick up. In characterizations, dialogue, and the orchestration of some scenes, the writing in maybe the first half is notably rough around the edges. Even as the film becomes increasingly engrossing, there's a certain off-putting gracelessness at times to how it's crafted, and the result is a bit uneven. Yet overall the narrative is swell - the concept is outstanding - and movie as a whole is well worth checking out.
The casting is immediately striking. Zoë Lund's name and face are emphasized, and for good reason - much to my delight, she takes on two roles here. The quiet poise she demonstrated in Abel Ferrara's 'Ms .45' was alluring, and here we get to see even greater range in very different parts. The ease with which she inhabits different characters is captivating, and it's a joy to watch her. Eric Bogosian, deservedly acclaimed actor, carries himself with a sobriety that matches the unmistakable timbre of his voice, and the steadiness in his portrayal of film-maker Chris Neville is absorbing. Brad Rijn is far less recognizable, bearing few credits to his name, and his acting as Keefe Waterman does leave a bit to be desired - yet he still adequately captures the range of confused, conflicting, heightened emotions of the character. If 'Special effects' is to be his greatest claim to fame, than it was a solid one.
Larry Cohen's direction is more balanced than his writing. While some of his scenes don't come off well in their arrangement as written, most do, and there's no doubting he has a fine eye behind the camera. Just as he builds tension and suspense with scene composition, he captures some marvelous shots - cigarette smoke under a street light, an organization of casting photos, characters silhouetted against bright light, unconventional angles, and more.
The building thrills are mesmerizing, and the great cast is aided by impeccable work from hair and makeup departments, lighting, set design and decoration, location scouts, costume designers, and props. Composer Michael Minard's music lends further to the noir-esque atmosphere and excitement. And the sum total is a picture that at turns seems playfully sardonic, like a few simple changes could have made it a vehicle for Peter Falk as Columbo - and also deviously twisted, reminding of a psychological thriller in the way that the movie within a movie impacts characters' mindsets.
For all the deficiencies that come out at one point or another - especially near the beginning - ultimately the feature is brilliantly written and designed, with growing strong attention to detail as the story progresses. My attention began to wander at first, but by the end my gaze was fixed. 'Special effects' is a highly entertaining thriller that's well worth seeking out, and earns my hearty recommendation.
The casting is immediately striking. Zoë Lund's name and face are emphasized, and for good reason - much to my delight, she takes on two roles here. The quiet poise she demonstrated in Abel Ferrara's 'Ms .45' was alluring, and here we get to see even greater range in very different parts. The ease with which she inhabits different characters is captivating, and it's a joy to watch her. Eric Bogosian, deservedly acclaimed actor, carries himself with a sobriety that matches the unmistakable timbre of his voice, and the steadiness in his portrayal of film-maker Chris Neville is absorbing. Brad Rijn is far less recognizable, bearing few credits to his name, and his acting as Keefe Waterman does leave a bit to be desired - yet he still adequately captures the range of confused, conflicting, heightened emotions of the character. If 'Special effects' is to be his greatest claim to fame, than it was a solid one.
Larry Cohen's direction is more balanced than his writing. While some of his scenes don't come off well in their arrangement as written, most do, and there's no doubting he has a fine eye behind the camera. Just as he builds tension and suspense with scene composition, he captures some marvelous shots - cigarette smoke under a street light, an organization of casting photos, characters silhouetted against bright light, unconventional angles, and more.
The building thrills are mesmerizing, and the great cast is aided by impeccable work from hair and makeup departments, lighting, set design and decoration, location scouts, costume designers, and props. Composer Michael Minard's music lends further to the noir-esque atmosphere and excitement. And the sum total is a picture that at turns seems playfully sardonic, like a few simple changes could have made it a vehicle for Peter Falk as Columbo - and also deviously twisted, reminding of a psychological thriller in the way that the movie within a movie impacts characters' mindsets.
For all the deficiencies that come out at one point or another - especially near the beginning - ultimately the feature is brilliantly written and designed, with growing strong attention to detail as the story progresses. My attention began to wander at first, but by the end my gaze was fixed. 'Special effects' is a highly entertaining thriller that's well worth seeking out, and earns my hearty recommendation.