Special Effects Blu-ray Movie

Rating summary

Movie		2.5
Video		3.5
Audio		3.5
Extras		1.0
Overall		3.0

Special Effects Blu-ray Movie Review

Reviewed by Brian Orndorf August 30, 2025

Larry Cohen clearly loves making movies. 1984’s “Special Effects” is partially a valentine to the madness involved in cinematic storytelling, giving Cohen (who also scripts) a chance to play with some Hitchcockian elements while remaining in the grungy, B-movie mode that’s made up most of his career. Execution isn’t a friend to the helmer, and despite his best effort to craft something twisted and weird, Cohen ends up with an unbelievably stiff picture in “Special Effects.” Suspense is intended but rarely conjured, and performances are almost amateurish in this endeavor, which hopes to provide a few turns and chills as it follows the dangerous ways of a sociopathic director working to restore his career through the cinematic ways of murder. Cohen has a ghoulish idea, but he fumbles most of this half-baked offering.

Keefe (Brad Rijn) is a man from Texas who’s come to New York City to find his wife, Andrea (Zoe Lund), who’s abandoned him and their young son to become an actress. Making his way through the sleaziness of the city, Keefe reclaims his spouse, but she quickly escapes, visiting Neville (Eric Bogosian), a once powerful film director who’s recently been fired from his latest project due to budgetary negligence. Andrea has hope to impress Neville, who’s working on his next project, but he merely uses her to fulfill his obsession with reality, murdering her on camera. Framing Keefe for the crime, Neville monitors the situation as Detective Delroy (Kevin O’Connor) steps in to investigate, soon charmed by the director, who pays Keefe’s bail, involving him in the casting for his latest work, which will replicate Andrea’s experience in NYC. Requiring a leading actress, Neville finds Salvation Army clerk Elaine (Lund), who’s transformed into the dead woman, beginning a performance adventure that plays right into Neville’s sick mind.

Cohen refuses clarity in the first act of “Special Effects,” essentially throwing viewers into the middle of a relationship crisis between Keefe and Andrea, who have a lot to work out after their marriage falls apart. Keefe is a determined, somewhat violent man who wants to reclaim what’s been lost, but little is understood of his home life, and Andrea’s backstory is limited as well, making the setup for escape underdeveloped and uninteresting. “Special Effects” improves once Neville enters the picture, welcoming Andrea into his elaborately designed dwelling, which includes a pool, a hot tub next to a bed, and a hidden room for a camera to record sexual activity. We learn more about the director, who craves reality, celebrating news footage in his quest to match such intensity, ultimately murdering Andrea to feed his insatiable desire.

“Special Effects” could do a lot with Neville’s insanity and practiced demeanor, but Cohen’s writing doesn’t show much interest in the man beyond his growing insanity, and as good an actor as Bogosian can be, he’s out of his range as the moviemaker, going broad while channeling industry tyrants. “Special Effects” evolves into a study of production, as Neville wants to make a picture about Andrea, requiring the presence of Keefe and the hiring of Elaine, who’s caught up in the excitement of production. Cohen goes through professional steps, extending to a lengthy casting sequence that oddly includes a photo cameo by Dustin Hoffman as Tootsie, which is the lone bit of comedy in an otherwise very serious endeavor.

Law enforcement is around, but Neville handles Detective Delroy, winning his allegiance through the promise of a movie credit. And there’s Keefe, who remains agitated, but suddenly wins the lead part in the film, pairing him with Andrea’s doppelganger. Again, there’s potential for inspired menace as Neville blurs the lines of reality for the couple, planning something devious that requires him to kill again to keep prying eyes away. Cohen aims for a tone he can’t achieve with his streetwise approach, and his screenwriting isn’t concerned with building motivation, preferring awkward jumps in logic and characterization that keep the endeavor tiresome to watch.

Special Effects Blu-ray Movie, Video Quality 

"Special Effects" was originally issued on Blu-ray in 2016 by Olive Films. Shout Factory revives the title for the "Mystery & Misdirection" set, though a new scan doesn't appear to have been created for this release. The visual presentation (1.85:1 aspect ratio) offers a decent examination of frame details, offering acceptable skin particulars on the cast and textured costuming for cold-weather outfits. Exteriors are deep, securing New York City street action and marquee spotting. Interiors are dimensional, exploring the expanse of Neville's apartment and the clutter of other living spaces. Color is acceptable, offering cooler NYC hues with concrete and wintery action. Brighter looks at clothing and bedroom activity are secured, and Andrea/Elaine's appearance is defined with blonde hair and pink outfits. Delineation is satisfactory. Grain is decently resolved. Source is in good condition.

Special Effects Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA mix is largely driven by the synth score, which means to add some dramatic intensity and atmosphere to "Special Effects," but also overwhelms it at times. Dialogue exchanges are a little uneven during the listening event, periodically drowned out by the score, also facing technical limitations. Sound effects are blunt.

Special Effects Blu-ray Movie, Special Features and Extras 

• A Theatrical Trailer (1:41, SD) is included.

Special Effects Blu-ray Movie, Overall Score and Recommendation 

"Special Effects" moves into a more traditional thriller position in its final act, but there's not much buildup to a payoff, and the resolution borders on ridiculous. Still, it's a sign of life in an otherwise dull endeavor, as Cohen seems driven to find a way out of a screenplay that's not well-constructed to begin with. "Special Effects" has genre elements that could work, and filmmaking heroes to emulate, but it's a sharp premise in search of a more determined director, as Cohen gets lost early and frequently in the offering.