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Special Effects (1984)

Reality and illusion collide as megalomaniacal filmmaker Chris Neville murders a young would-be actress, then sets about making a feature about the deed, casting the deceased's clueless husband as the patsy, and finding a dead ringer to play the late actress.

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5 Comments

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Carlos I 27 Dec 2016

Interesting, but sleazy picture. The lead actress is so horrible and almost completely torpedoes the whole movie, but listening to Cohen's ideas on the picture, gives me a different appreciation for the whole thing.

Al M 04 Oct 2010

Film within a film has struggling Director resorting to a snuff film by secretly filming a murder and building a film around it. I've always enjoyed Larry Cohen's sly wit, which is especially present in the script-writing homicide investigator here.

James Kendrick 23 Oct 2016

It is as if Cohen had a list of ideas he wanted to incorporate, but no real sense of how to articulate them, so they all wind up in a big, messy stew.

Nick Schager 06 Feb 2006

A significant (if ultimately chaotic) entry in the director's canon of ramshackle tributes to the dark, dangerous, voyeuristic allure of the cinema.

Jack G 20 May 2015

Have you ever noticed that there is always one guy who ruins the topless photo shoot for everyone else? In this case, it is Keefe(Brad Rijn) who tries dragging his wife Andrea(Zoe Tamerlis) back home to Oklahoma from New York. She will have none of it, escaping out the bathroom window before seeking out disgraced film director Chris Neville(Eric Bogosian). However, she realizes too late what he intends his next project to be... Wearing its low budget proudly on its sleeve(so much so, that some of the dialogue seemed to be fading out at times), "Special Effects" is a movie that wants to have its exploitation and complain about it, too. That it works as well as it does is down to Eric Bogosian's natural intensity. In this case, he puts it to good use playing a director who cannot tell reality from make-believe anymore. With a backdrop of a gloriously sleazy and tawdry 1980's New York City and a loft that is alternately tacky and awesome, this movie could also be seen as a warning against the glamour of filmmaking.