This film of magical heists and mystery looked like just a fairly fun outing from the trailers, and I’m glad to say that is what I received. Now You See Me has a great cast of talent that delivers, a script that is smart enough, and a premise that maintains your interest to see where the next twist will take you. It’s not brilliant, but it is well designed to entertain.
An elite FBI squad, led by Agent Dylan Rhodes (Mark Ruffalo), is pitted in a game of cat and mouse against “The Four Horsemen,” (Jesse Eisenberg, Isla Fisher, Woody Harrelson, David Franco) a super-team of the world’s greatest illusionists who a year ago were mere street performers. “The Four Horsemen” pull off a series of daring heists against corrupt business leaders during their performances, showering the stolen profits on their audiences while staying one step ahead of the law. Their sensationalistic crimes also ensnare the attention of Thaddeus Bradley (Morgan Freeman) who now debunks and exposes the tricks of magicians for his own gain. As the Horsemen’s grand game of misdirection and slight of hand escalates towards their grand finale, it’s a cunning game of wits for all to pull the curtain back to unveil the hidden truth behind it all.
Indeed, what sells this film in general is the excellent acting talents involved. Morgan Freeman is surefire as this former magician who now seeks to debunk the best in the business for higher fortune. He keeps the riddles twisting around the audience leading us on, but never fully revealing the next step. How he deconstructs how the Four Horsemen executed their tricks and heists is smartly done. Freeman does a wonderful job here bringing his usual intellectual savvy to this perceptive character.
The Horsemen themselves are vibrantly portrayed with Jesse Eisenberg being the strongest of them as J. Daniel Atlas. He really projects some smart, quick witted savvy that demonstrates Daniel’s leadership, and his humorous banter with his co-stars is quick and sharp. He definitely feels like the guy who could outsmart anyone in the room, and do it with style. Isla Fisher plays nicely off of Eisenberg as Henley and Daniel have some romantic fallout between them, but it’s kept light and smart. Woody Harrelson puts in a real good performance showing Merritt McKinley to be a very intuitive personality from his skills as a mentalist. He can read people up and down, inside and out to pull little hints of information from them, and Harrelson uses that to solid comedic effect. Dave Franco might seem like the weak link in the team, by design, but he eventually gets his moments to shine as street hustler Jack Wilder. Altogether, this is a great foursome of sharp talents that never upstage one another, but instead, complement each other in a cohesive fashion. They’re very fun to watch.
And of course, Mark Ruffalo is a charming treat as Dylan Rhodes. Ruffalo brings charisma and a rough edge to Rhodes, but maintains him as an enjoyable, smart guy that you can connect with. He is always portrayed as a competent and solid FBI Agent, but you see him trying to deconstruct all of these theatrics with regular investigative work. So, it’s a fun ride to see him weave through it all dealing with Thaddeus Bradley as well as French Interpol Agent Dray, who you’re given reason to suspect as being not entirely as she seems. Ruffalo has decent chemistry with Mélanie Laurent. There are never sparks flying between them, but it’s an honest and sweet pairing that has its light humor and genuineness. Basically, if you liked what Ruffalo did as Bruce Banner in The Avengers, I think you’ll enjoy the humor, heart, and charisma he brings forth here.
The visual effects throughout the film are very excellent. They sell the flash and style of the Horsemen’s illusions with stellar results. There might be one or two moments where the CGI isn’t as good as it is elsewhere, but in the vast majority, this is seamless and awesome work. It gives the film its visual flare and style. And it is an exceptionally well shot movie. Director Louis Leterrier really knows how to put together a visually solid movie as I did very much enjoy The Incredible Hulk, and the integration of visual effects into live action is superbly done under his direction. Leterrier beautifully utilizes all the rich talent he has at this disposal here, and executes this script with smart direction that kept me engaged and guessing.
And while I expected fun and flashiness, I was pleasantly surprised that the film had some nice action sequences. There’s a decently well stage foot chase through the crowded streets of New Orleans with some clever beats. Later on, when the FBI is closing in on the Horsemen, we get an extremely impressive and acrobatic fight scene with Franco and Ruffalo. There’s some great, fast, and fluid moves in this that just stunned me from Dave Franco. He’s combating people with swift actions like that of a ninja, and this sequence showcases smarts and sharpness in every second. Following this, there’s a really good car chase through Manhattan, New York. All of this action is very well done with only a few minor moments of shaky cam, but it ultimately came out to be very pleasing. The film’s climax isn’t really action based, but focused on the story and motives behind this elaborate magic trick. It unfolds nicely with fine dramatic beats, but surely, I won’t be spoiling any of these well written and executed reveals to you at all.
How the mystery all plays out is engaging and intriguing. I kind of view the movie, going in, as The Prestige crossed with Ocean’s Eleven, and that’s generally how to look at it in concept. It doesn’t match the brilliance of either of those films, but as I said, it’s a fun, entertaining experience. It is the twisting and turning puzzle that the Horsemen are constructing that make it interesting. You don’t know what the next trick will be, but it’s about even more than that. It’s not just the magic that they perform and how they did it, but the motives behind it keep you guessing. It’s cleverly designed through and through. How it’s all setup with a mysterious benefactor bringing together and enabling this foursome, even the Horsemen don’t know the full truth, and so, there is a layered mystery at hand. The FBI is just interested in catching these performers in the act of the crime, and Bradley is interested in burning them down for his own self-serving fame and fortune. So, everyone has their motives, and they all nicely interweave into the reveals at the film’s end. The ultimate twist is something I’m a little divided on. I liked the moment of the reveal as it is dramatically and beautifully played, but it wasn’t quite setup in the film. All of the other pieces are there to assemble the motives and interwoven storylines together. As a magic trick played on a grand canvas, this film does a really excellent job of doing that. The ultimate reveal just felt like it needed a little more punch. Something like a Keyser Söze reveal where the clues were there the whole time, but you couldn’t pick up on them. Something subtle, something between the lines that would strike you at just the right moment. I could figure out the why, but not entirely who amongst this cast or beyond would be the Horsemen’s ultimate benefactor. It’s far away from being a poor ending, but it could’ve benefitted from a little more setup.
Frankly, I think Now You See Me is just a fun time to have at the movie theatre. I’m sure if you went into it with a critical mind you could nitpick it apart, and see how really unbelievable the plot is in all its little nuances. Thankfully, I was enjoying myself consistently throughout this movie, and was able to sit back, relax, and just have a pleasant time with it. Just like magic, you have to let your mind go and just allow yourself to be entertained by the cleverness and spectacle at hand. The film is smartly written overall, in my opinion, and I found that there was plenty of subtle setup and pay-off for practically everything in here. This film captures the spirit of magic very well, and it’s almost refreshing to see a film of so many vibrant characters without a real villain in the mix. Everyone is enjoyable in their own ways, and next to no one is tinged with villainy. It’s just a fun ride that I think essentially anyone can enjoy if they’re willing to just embrace it.
Coming three years after the disaster that was Highlander 2: The Quickening, this sequel absolutely plays it safe. It also demonstrates a lack of ambition or originality in how much it directly borrows from the first movie without even disguising it. The highly successful television series starring Adrian Paul as Duncan MacLeod was already on the air, but the producers of the franchise decided to give Connor MacLeod another theatrical outing. It surely doesn’t measure up to the first film, as it is a formulaic sequel, but it is an enjoyable film that did have some good potential.
In 16th century Japan, immortal Scotsman Connor MacLeod (Christopher Lambert) is mentored by the sorcerer and master of illusion Nakano (Mako). However, when an evil, ravaging immortal named Kane (Mario Van Peebles) raids a nearby village, and comes looking for the sorcerer, the ensuing quickening from Nakano’s death seals Kane and his minions in the mountain cave for the next four centuries. In present day, an excavation is underway to determine the truth of the legend of Nakano, headed up by archaeologist Alexandra Johnson (Deborah Unger). However, this excavation aids Kane in his escape from the cave, and immediately begins his search for MacLeod. Since his defeat of the Kurgan, Connor has adopted a son, but also, lost his wife Brenda to a car accident which he survived without a scratch. He’s known he was not the last immortal, and now, he knows that it is Kane who still lives. Both Connor MacLeod and Kane travel to New York, the site of the Gathering, to do battle and claim The Prize once and for all.
This story is fairly good, but would even be rather average for the television series. It’s nothing exceptional or stunning. It’s not trying to do anything original or break new ground for the franchise, and it knows it. It’s more playing around in the world of Highlander, having a little bit of fun, but not trying to build upon anything. As with the previous sequel, gone is the sense of magic and mystery. Connor MacLeod is still portrayed well by Christopher Lambert, still injecting some charm and confidence into the role. However, it really is that sense of world weariness that made him captivating to begin with. You could feel the weight and aura of centuries lived in Lambert’s performance. It gave the character depth and texture. Here, all that is absent, and instead, we get a much more standard protagonist who is enjoyable, yet lacks gravitas to really draw in an audience. The thing is with this movie is that it feels like a second rate version of Highlander, but in the least, it never takes itself too seriously for too long. This is mainly by way of the character of Kane.
Mario Van Peebles is an excellent talent in front of and behind the camera, and I know this is not representative of his highest acting qualities. There are both positives and negatives to say about his performance as Kane. How you take his performance is based on how you want to perceive the movie. In general, he’s basically a carbon copy of the Kurgan only not written as well, and portrayed with an especially over-the-top, tongue-in-cheek mentality. Van Peebles even puts on a very gravely Kurgan-esque voice as Kane, which bares next to no resemblance to his natural voice. As Kane, he certainly has formidable moments where we see how lethal and vile Kane truly is, solidifying his weight and threat as a villain. However, Van Peebles is entirely indulging himself in this role, and if you choose to view the film as a fun, lightweight flick, you can certainly find enjoyment from this performance. Mario Van Peebles is clearly enjoying living in the skin of this villain with his performance bordering on campy. He’s certainly a long way off from chewing as much scenery as Bruce Payne did in Highlander: Endgame, though. Still, Kane is written with some rather unrealistic dialogue. For a guy that’s been buried in a cave for the last four hundred years, he certainly has picked up late twentieth century slang quite swiftly in addition to learning how to drive a car. Throughout the film, even in the sixteenth century scenes, he entirely comes off like a modern villain instead of one displaced in time and culture.
Also, while the design of Kane is pretty awesome with the long hair, goatee, and tattoos, I think the nipple rings are just a tad too much. They are on both his armor and himself, and just make Kane more modern looking than he should be. Thankfully, we’re not exposed to them long as Kane adopts some very good looking Asian style threads. It again comes off as an attempt to emulate the style of the Kurgan, but with a 90s flavor. I really do believe Kane could’ve been taken in a much more credible direction, and made for a slightly more original and straightly serious villain. Instead, the filmmakers chose the route of levity. Still, there are other issues which hold the film down from being as good as it could have been.
Regardless, whether you call this The Final Dimension or The Sorcerer, this does feel more like the kind of sequel one would expect. It follows up on the police investigation threads from the first movie, and uses footage and dialogue from the original to further the story and character points forward. It might seem a little frivolous at times, but I don’t have much of a gripe with it. I like how this was done in Endgame as well. However, there is flashing back to the first movie for context, and then, there’s badly copying scenes from that same movie.
Such is the case when Kane goes on a psychotic joy ride with Connor’s adopted son. It’s a real poor excuse considering none of the danger is actually real, just an illusion generated by Kane. It’s a pathetic and blatant attempt to recapture something awesome from the first film while doing it with only a fraction of the talent. Even if done nearly as well, it would still be lame because it’s a retread instead of trying to do something original. Even kidnapping a loved one of Connor’s to force a final confrontation also emulates what the Kurgan did in the first movie. It is stuff like this which make this movie a pale imitation of the original Highlander.
I will give credit to the aspect of the police investigation. Lieutenant John Stenn remembers the original string of beheadings, and who the sole suspect was at the time. With MacLeod back in town with a new beheading, he immediately puts it all back together. It is a part of this story that makes the film feel like a continuation of the first, and I do feel it was well done. Stenn has an understandable contempt for MacLeod, and is quite dogged about his investigation. It is a pretty good performance by actor Martin Neufeld.
Deborah Unger is very good in her dual roles. However, I do find the entire aspect of Alex bearing a dead-on resemblance to a centuries past lost love of Connor’s to be unnecessary and a little forced. The romantic relationship between Alex and Connor could’ve easily worked without that odd connection, and possibly could’ve had more time to develop without those flashbacks. I think this idea was only there so that the filmmakers could have occasional flashback sequences to better resemble the style of the original movie. It’s not badly handled, but it does feel like a diversion from the actual relevant aspects of the plot.
Regardless, Unger does a very fine job as the film’s female lead. Her performance is very grounded showing a fine range of levity, passion, and dramatic weight. She carries herself very solidly, and works very well opposite Lambert. Also, Deborah Unger is probably the sexiest, most sultry looking woman of the Highlander films. She even insisted on not using a body double for the fully nude and steamy sex scene late in the film. While the romantic storyline between Connor and Alex doesn’t develop as strongly as other Highlander loves have, it is serviceable, and nicely played by both actors.
I will also hand it to this film’s cinematographer. This is a very well shot and well lit movie. The bowels of the hospital where Connor encounters Kane’s henchman has some gorgeous blues and oranges creating a beautiful atmosphere. Overall, we get some very cinematic camera angles and movement with stellar work when it comes to the action sequences and sword fights. While the film lacks the epic grandeur and sweeping visual quality that was a given with Russell Mulcahy, I will give it credit for looking quite a bit better than your usual 1990s fare from Dimension Films. This can possibly be credited to director Andy Morahan being primarily a music video director, same as where Mulcahy started out. He knows how to capture great visuals, and that is in no dispute here. Although, it seems Morahan never broke out from music videos. This was his first feature film, and he’s not done much of anything else outside of music videos ever since. He directs this film pretty well, handling the action, drama, and levity of it very evenly. It certainly isn’t an example of a breakout directorial debut, but there have been far worse action filmmakers out there who have had bigger careers making lower quality films. So, I will say that this is a decent first outing for Morahan.
As far as action goes, I actually think the film’s best sword fight is not the climax, but when Connor and Kane fight inside the former Buddhist temple. It’s a very dynamic fight with some great physical and dialogue exchanges. With the duel being on Holy Ground, it ends in a very startling way as the blades of Connor and Kane’s swords shatter. It shows one ominous way such betrayals of the rules are dealt with. The final climactic duel is a well executed sequence with great cinematography and good effects. It is very physically intense. However, it has one stinging point I will get to momentarily.
The orchestral score by J. Peter Robinson is very good. I particularly enjoyed the Japanese and Middle Eastern flourishes at the appropriate moments creating a unique musical atmosphere. The score is very thrilling and vibrant with a plenty of character. What I have a problem with is the clunky use of second rate hard rock songs in this film. With the original movie, Queen naturally brought an epic and emotionally rich depth to the film with their songs alongside Michael Kamen’s gorgeous score. Highlander 2 essentially focused only on Stewart Copeland’s grand, operatic score. With this film, these rock songs are just bad and obnoxious, and don’t complement Robinson’s score at all. The worst part comes in the climactic battle between Kane and MacLeod. Someone recorded a blatant knock-off of Mötley Crüe’s “Dr. Feelgood,” and it terribly degrades the entire climax. I’m sure Robinson could’ve composed something beautifully dramatic and triumphant instead of that schlock. Where the filmmakers get it right with the licensed music is with Loreena McKennitt’s version of “Bonny Portmore.” This is a gorgeous and deeply emotional song which would become a staple of the franchise from here on out. I really adore its beauty.
On the up side, the visual effects are very good. During the 90s, movie goers were treated to a lot of primitive CGI, but this movie really gives us some good quality effects. The illusions of Nakano and Kane are given a great, magical look that flow very smoothly with the on-screen action. There’s nary a bad effect anywhere in the film, save for the quickening flashing across the Moroccan desert sky. Otherwise, this really is some beautiful work.
Although, I think the filmmakers kind of took a wide liberty with the term “illusion.” An illusion shouldn’t allow Kane to transform into a bird and fly away. Even the ability to create solid objects from either Kane or Nakano is arguable as an illusion. They should’ve just came out and said it was straight up magic. Although, I know even that gets into a muddled area in that, if it is full-on magic, why would it be that either man can do only so little with the power. Nether of them is exactly Merlin casting spells and unleashing epic, fantastical wizardry. So, it’s a real strange line to walk, and is probably best not to scrutinize it. Still, this is a review, and that’s what I’m meant to do.
I think what this film lacks the most is depth. Emotions don’t run very deep, and we don’t really get much under the skin of these characters. Again, Connor doesn’t feel like the same textured and fascinating character we had from the first Highlander. I hate to continually make comparisons back to the first movie, but this film begs so much comparison that it is impossible to avoid it. Nakano is a decent character, but has really no depth of any kind to offer. The late Mako was very beloved in certain fandoms, but I don’t find his performance here very inspiring. Whether or not you compared him to Sean Connery’s Ramirez, he is quite forgettable. The film does have its moments of touching beauty and decent depth, but it does entirely feel like the filmmakers playing it safe. They are not trying to dig into the soul of their characters, and that’s really a major mistake. Case in point would be the French Revolution flashbacks would have worked so much better if there was more substance to grasp onto. We get only glimpses of Connor and Sarah being in love. It’s very weakly presented, and since it bares no relevance or impact upon the main plot with Connor and Kane, the filmmakers don’t spend great amounts of time on it. I’m certainly not saying this is a terrible script, just a mediocre one that could’ve had better potential in more talented and motivated hands. It worked for a fun action adventure film, but against the brilliant standards set with the original movie, it’s undoubtedly mediocre.
I had intended to offer some comparison between the director’s cut and the European cut of the film, but any differences are very minor. The director’s cut adds in some more effects shots to enhance Kane’s sorcery, most notably with his arrival in New York being via a portal instead of just walking out on the docks as if he traveled by ship. At the end, the European version excises the reuse of effects shots from Connor winning The Prize in the first Highlander that were present in both the theatrical and director’s cuts. Sadly, the only change in the soundtrack comes at the end credits where the director’s cut has another bad hard rock track while the European cut features “Bonny Portmore” once again. Both cuts are available on Region 1 DVD. The original 1998 DVD has the true director’s cut, but the 2005 and 2011 DVDs, which claim to also be the “Special Director’s Cut,” are actually the European version only with the opening title card changed from Highlander III: The Sorcerer to Highlander: The Final Dimension. I would lean towards buying the newer DVD since the film is given the anamorphic widescreen treatment resulting in vastly superior picture quality. The image is clearer and colors are much more vibrant. So, I am glad to have purchased it, regardless of there being no dramatic differences in the content of the film.
Ultimately, Highlander III is that sequel in the franchise that doesn’t get much attention. The others have very notable issues that are hotly contested amongst fans, but this one keeps a low profile despite also having its fair share of mild problems. While it surely doesn’t re-ignite the magic that the original movie captured, it’s a fun, disposable film that has its merits, but ultimately, can be forgotten about without a problem. As is the difficulty in making a sequel to the original, where it ended definitively, the filmmakers had to indulge in a cheap end-runaround to make a sequel where there are still immortals out there. Again, if you’re looking just for a fun movie that’s not going to take itself too seriously, then you can enjoy this movie. I do find it entertaining but lacking in substance. In my opinion, it’s a step in a better direction than Highlander 2: The Quickening, but not as good as what was being done on the television series at the time.
While I have only ever seen two films directed by macabre horror writer Clive Barker, he is actually one of my favorite filmmakers. Hellraiser was the first reason, but this film, Lord of Illusions, is the biggest reason. Released in 1995 in the midst of a bad stretch of time for the horror genre, Clive Barker was ambitious in telling a film noir detective horror story. Theatrically, the film was not well represented with a lot of pertinent, quality scenes cutout for a tighter runtime, and box office was not very lucrative. I cannot find a record for the film’s budget, but I’m sure it exceeded the box office gross of $13 million. Thankfully, the home video market allowed Barker the opportunity to release his definitive director’s cut of this excellent film, and I can’t imagine anyone watching this film in any other way.
New York private detective Harry D’Amour (Scott Bakula) finds himself repeatedly drawn into disturbing supernatural events, much to his strong reluctance. He takes an insurance fraud case in Los Angeles as a change of pace, but soon, he finds himself in the world between illusion and true magic. The world’s greatest illusionist Philip Swann (Kevin J. O’Connor) is killed in a graphic on-stage accident, and Harry is driven to discover the truth behind it. Hired by Swann’s gorgeous wife Dorothea (Famke Janssen), Harry delves deep into the secretive world of magic, and encounters dangerous foes including the peculiar, yet lethal Butterfield (Barry Del Sherman). What Harry uncovers is that a cult leader named Nix (Daniel von Bargen), who could perform real magic and taught Swann to do so as well, is feared to be able to defy the grave that Swann and Dorothea put him in, and will return to exact horrific revenge upon the world. What Harry D’Amour may come to realize is that death is the ultimate illusion.
The film sets a very dangerous, foreboding tone right from the outset. A series of grim images of a decrepit, desolate wasteland open the picture telling you that dark, evil forces await us. This opening sequence shows Swann and his friends confronting Nix and his followers in the Mojave Desert thirteen years prior, and sets the stage for where Harry D’Amour will enter their unsettling lives in the present day. It clues you in on exactly what horrors Nix was capable of, and why Swann and his estranged friends now fear his return so gravely. The production design of Nix’s stronghold is perfectly macabre and disturbing. It has that dead-on Clive Barker dark, gritty style with a sort of grotesque beauty. It is photographed with a generous amount of shadow using the light to accentuate only certain sections of the environment. This style carries over into all the visually darker scenes creating a gorgeous film noir style. This is just a beautifully shot movie in any condition of light or shadow. While cinematographer Ronn Schmidt doesn’t have much in the way of high profile films to his résumé, I can surely tell he had a major wealth of artistic potential when coupled with the right director.
Clive Barker magnificently proves his talent and worth as a filmmaker here. I think Lord of Illusions really is a masterpiece of supernatural noir horror. It’s a greatly intelligent film that blends two very comparable genres together in a beautiful way. The film sets up the horror elements first with that amazingly chilling opening sequence, but doesn’t really explain anything to the audience. So, as Harry D’Amour is pulled into this plot, we still have questions that need answering, and it is a dangerous path for Harry to walk to reach those answers. There are plenty of secrets that many would kill to have or to keep hidden, but Harry is an intelligent enough hero to see through the spook tactics and walls of deception to get to that truth. The moments of horror are powerful such as the flashes Harry has of the exorcism he was involved in. The sight of the stark white demon is nightmarishly striking. Dorothea also has visions of blood and death which tell her that Nix’s return is soon to come. Butterfield’s strange lackey Miller also provides much in the way of savage gore and violence. How he survives a third story fall to the pavement enhances the bizarre nature of the film’s foes. Clive Barker knew how to use film as a canvas for brilliant brush strokes. Melding so many different complex aspects of this story would not be easy to do, but he had a clear and vibrant vision which he was able to realize. Not to mention, he brought us one of his absolute best creations ever.
I really love the Harry D’Amour character as portrayed by Scott Bakula. He is endlessly fascinating to me. A hardened private investigator who gets caught up in all manner of supernatural danger is so ripe with potential. The fact that he is reluctant to be wrapped up in this world, but is inevitably drawn to it makes for a great character dynamic. He’s a man that has subscribed to many faiths in his day, possibly to attempt to find answers or solace for the evil he has faced. It shows he’s a man of a wide open mind, but not without his skepticism. True to being a detective, he accepts nothing purely on face value alone. He has a probing mind with a keen intellect that makes him an interesting hero to follow. He’s intent on unraveling a mystery in a world built upon secrets. Scott Bakula gives a warm, soulful quality to D’Amour that comes to life opposite Dorothea. He also shows Harry to be a capable and confident man of action making him a very well-rounded character. He’s smart and perceptive as well as having a good heart that contrasts the darkness he’s engulfed in. Bakula did research the role, and helped add in more traits of what Barker had previously written for the character. The tattoo on Harry’s back resulted from that research and collaboration. Scott Bakula does an excellent job with this role that I wish fortunes could’ve allowed us to be exposed to beyond this film, but nothing is ever truly impossible. One can still hope for another prime opportunity to arise for Bakula and Barker to reunite.
When Clive Barker saw the headshot of Famke Janssen during casting, he knew he had found Dorothea. Her air of class and elegance truly shines through in this role. When Harry first sees her its in the golden late afternoon sunlight, and she couldn’t be more captivatingly beautiful. She easily captures Harry’s heart, and that leads the two down a very passionate path. Bakula and Janssen have a seductive chemistry that is captured magnificently by the camera. Their love scene is gorgeous. I like the fact that Lord of Illusions came just before Famke became a villainous Bond girl in GoldenEye. Thus, it gives Barker some special credit for recognizing her talent and beauty before her breakout role. As Dorothea, she is both vulnerable and strong creating a fine mix to make her a damsel in distress, but not one that’s afraid to fight for herself when the opportunity arises.
I have to admit that I love the character of Butterfield. He’s perfectly androgynous with a slinking quality that makes him very serpent like. Barry Del Sherman uses his body language fluidly as he slipped into the skin of this peculiar villain. It’s wonderfully written as a dangerous, off-beat character that one might not take seriously at first glance. However, Butterfield quickly demonstrates a lethal, sadistic quality that he uses in calculated fashion. He truly takes deep pleasure in the torturous methods he uses, and Del Sherman absorbs himself fully into that mindset. He portrays a wonderfully charismatic and juicy villain. It’s also an interesting dynamic that Butterfield aspires to be Nix’s one and only apprentice, but even Nix acknowledges that there is no one else worthy but Swann. While Swann gets to bask in the limelight of fame, Butterfield slinks his way through the dark underbelly of the world to prepare for Nix’s return, and he gets no respect for his loyalty or hard work from Nix.
Daniel von Bargen is a hell of a diverse actor that I have gained immense respect for over the years. He can do drop down hilarious comedy, but also, put in a frighteningly charismatic performance as Nix. What he does in the first few minutes of the film resonate throughout the rest of the picture. His horrific power haunts Swann, and that fear translates over to the audience very sharply. He is an awesome villain full of commanding presence and intense malevolence. The power von Bargen throws into this role is masterful creating something that could truly haunt your nightmares in terrifying fashion. He clearly had a fun time portraying this intense, chilling character.
Another amazingly diverse actor is Kevin J. O’Connor. You may know him from his turn as the cowardly Beni from Stephen Sommers’ The Mummy, or from the Patrick Swayze television drama The Beast. As Philip Swann, he gives us a very unique performance. I like how the film opens without presenting a clear hero to you. Swann is not a confident or particularly stable person, and not the type to gravitate to as a protagonist. He is very shaken by fear, and later on in life, he’s not a content man. He has fame, wealth, and a beautiful woman at his side. However, it’s the creeping knowledge of what Nix vowed he would do, defy death, that endlessly troubles him. If he can do that, Swann cannot imagine what greater terrors he could unleash. Even with all the power Swann possesses, he knows that Nix is more powerful, but most importantly, he has the will to do things Swann never would. Nix messed with his mind once, and he’s never been able to shake that. O’Connor passionately displays the depth of those turbulent emotional and psychological elements so well. He makes Philip Swann a greatly fascinating and fractured character that maintains the foreboding tone of the film.
The supporting cast really put their all into their roles. They add to the eclectic flavor of these textured and distinct characters. Joel Swetow makes Valentin a very sophisticated but shady character. He furthers adds to the mysterious and treacherous aspects of the plot. All of the characters appearing in the Magic Castle sequence, portraying illusionists of all sorts, also really boost those spooky and colorful qualities of the film. It’s just a damn solid cast that Barker put together. There’s not a single weak link anywhere at all.
Clive Barker turned to the absolute masters of special make-up effects in KNB EFX Group for this film. Their work has been unparalleled. Whatever they do, big or small, severe or subtle, it always hold weight on film. What they did here is bring the gory and challenging imagination of Clive Barker to perfect life. The make-up on the resurrected Nix is purely, excellently disgusting, as it should be. The protrusion in his forehead is something I still cannot stomach to look at. Conversely, the digital visual effects are damn well up to standards. The early scene of Nix juggling fire is seamless and convincing, and the effect of Swann levitating a car over Harry’s head is quite well handled. Of course, I’m sure many would contend with the later scene of the apparition that attacks Harry and Dorothea late in the film, but Barker wanted it to look as it did. He did not want those effects to be dead-on realistic. He wanted a dream-like, unreal quality to them, and to a point I believe it worked. I’m sure something a little more refined could’ve benefitted the sequence better, but I generally have no criticism about it.
The film has a very strong, haunting score by Simon Boswell. It’s an excellent piece of work that regularly keeps the tension and ominous qualities present, but it also has its moments of beauty as with the Harry and Dorothea love scene. A sensual saxophone chimes in to delve into that seductive passion. The music during Swann’s stage show is marvelously theatrical. In its most climactic moments, the score is powerful and darkly operatic. Overall, it’s an immensely effective composition for a film with such diverse qualities.
Lord of Illusions has its generous share of heightened tension and frightening danger. The opening and ending sequences with Nix bring the full boar horror in all its macabre glory. In the bulk of the film, though, we have action based excitement with D’Amour, and some gory visuals that re-instill the haunting, chilling aspects of the story. This is not a splatter film with some brutal threat stalking the characters. It’s very supernatural with a more ominous threat stirring up their deepest fears. The atmosphere is very strong regularly keeping an audience on edge, and keeping them enthralled as each new layer of the mystery is pulled back. With lives being lost as he gets deeper into this and becomes more invested in Dorothea, Harry can’t just walk away. It’s a great way to wrap the hero up in the story, and drive him forward in the face of ungodly horror. Harry never gives into fear, and remains determined in even the darkest moments of the film.
The final act is powerful and amazing. It serves as the proper climax to this story which pits apprentice against master in a chilling and grotesque confrontation that still manages to keep D’Amour relevant to the outcome. It bookends the film smartly bringing Nix back in a far more chilling state than before. The disturbing cultist aspects of the movie really are driven home by this point, and have an ironic, vile pay-off here. It further sells the grave lethality and power of Nix. This entire prolonged sequence is like a slow decent into the horrific depths of hell, and there is no one better suited for the task of realizing that than Clive Barker. This ending will leave you still unsettled as the end credits roll.
If there’s one horror film that has inspired me as a screenwriter more than any other, it would be Lord of Illusions. This would be the genre I would want to play around in because Clive Barker realized it so well here. There’s a vast untapped potential for this supernatural noir genre, and this film is a prime example of that potential. Barker wrote a brilliant screenplay based on his short story The Last Illusion, and turned it into one of the best, most original and intelligent horror films I have ever seen. Thus, it is one of my favorite films of all time. This film far exceeds expectations realizing every element and aspect with amazing, top notch quality. It is only a shame that the studio difficulties Barker faced with this film caused him to turn away from ever directing another film again. Fortunately, it has not ceased him being a producer on a number of film adaptations of his written work. I think Clive Barker is one of the best masters of horror because has never let me down. If this turns out to be the final film he ever directs, no one could ask for a better final bow than Lord of Illusions.