The "last" illusion indeed...
This third auto-adaptation by Clive Barker proves once more that the British author extraordinaire is just as good behind a computer than in a director's chair. This time, he manages to remain close to his Gothic roots by cleverly updating the film noir genre to include supernatural elements. After all, Lord of Illusions is less of a horror film, than a noir with magic-using characters. Every element is there: the dark and savvy detective (named Harry D'Amour, no less) caught in a dangerously intricate investigation involving a mysterious femme fatale and her rich, impotent husband, the romantic entanglement between the detective and his client and a climatic five-way duel. Barker strikes again! Based on his short story, The Last Illusion, Lord of Illusions is another crafty, tension-filled supernatural thriller featuring top-rate special effects and wondrously perverted contraptions and characters.
Warlock Nix is a paunchy cult leader à la Charles Manson who blindsides his fanatical followers with his magic. Enticed with renegade pupil Swann, which he believes to be his only worthy "student", he kidnaps a young girl and menaces to sacrifice her in order to lure him back. Swann does come back, with a bunch of gun-totting friends. With the help of the young girl, they manage to subdue Nix, to "bind" him (by screwing modular metal masks directly into his skull), and bury him. Cut to 13 years later. Bad-ass, supernatural-investigating detective Harry D'Amour is sent to L.A. for some well-deserved "vacations" when he stumbles upon sadistic cult members Butterfield and Ray Miller, who are hellbent on avenging Nix and bringing his binded carcass back to life. Enters Dorothea, Swann's seductive wife (played by Goldeneye Bond girl/Dark Phoenix Famke Janssen who looks more fetching than ever in a see-through bathing suit) who wishes to protect her husband from those freaks and thus hires D'Amour. As the mystery unfolds, Dorothea and Swann's backgrounds are slowly revealed by the cunning detective, while freaky Butterfield tries to locate the remains of his master. Eventually, Nix is revived and an exciting confrontation takes place between D'Amour, Swann, Dorothea, Nix and Butterfield.
Although not on par with Gothic masterpiece Hellraiser, Lord of Illusions shares most of its significant assets including Barker's masterful direction that makes exemplary use of somptuous locales, a flair for editing exciting action sequences, awesome special effects and a tight screenplay featuring many twisted characters. The opening sequence alone features all of these elements neatly packed for an explosive start. Set in a rundown desert hideout (no doubt inspired by Charlie Manson's shack in Topanga Canyon), it features a fairly unusual rescue mission. Roaming through labyrinthine corridors, Swann and his commando must locate Nix and the girl amidst a sea of demented cult followers. When they do get a hold on the megalomaniac wizard, an exciting fight involving flight, telekinesis and binding rituals brings the opening act to a screeching halt. The only way to go from there is down. Fortunately, Barker keeps his story afloat thanks to strong characterization and the ever-present promise of weird and sadistic magic rituals. Bakula and Janssen are spot-on as the tough detective and femme fatale, while Barry Del Sharman is downright scary as Butterfield, the gay-looking sadist wearing skin-tight silver pants. The "magic" sequences are impressive, paramount of which is the nightclub act featuring Swann impaled by falling swords. This distinctive scene is absolutely exhilarating thanks to Barker's love for crisp editing and blood-spurting wounds. In the end, the film comes full circle and we find ourselves back at the dilapidated desert shack from the opening sequence. Although heavy on special effects, this wholly enjoyable finale ties all the loose ends together and makes for some pulse-pounding, eye-popping entertainment.
Finally, a few words on the character of Nix. Interestingly enough, he is not the suave, well-mannered megalomaniac of, let's say... the James Bond films, but rather a true-to-life cult leader. He is fat, dirty, badly groomed and badly dressed, sort of a wizardly Manson whose cunning promises of doom are almost hypnotic. Everything about him is unsettling. He lacks the civilized demeanour that makes traditional villains almost loveable, and unlike Pinhead, he mostly steers clear of campy one-liners. Most of all, he is not at all fashionable, unlike Pinhead again, who almost singlehandedly invented S&M chic. Proof of his repulsiveness (which you could also call effectiveness) is the absence of plastic Nix figurines in the show cases of video stores and Nix costumes in the streets during Halloween... Cheers to Barker for fashioning this terrifying antagonist from scraps of collective fears instead of using a worn-out archetype. And cheers for blending the fantastic and realistic elements of the story so nicely as to make us fear that antagonist all the more.
3/5 Another savvy quality film from multi-talented auteur Barker.
Warlock Nix is a paunchy cult leader à la Charles Manson who blindsides his fanatical followers with his magic. Enticed with renegade pupil Swann, which he believes to be his only worthy "student", he kidnaps a young girl and menaces to sacrifice her in order to lure him back. Swann does come back, with a bunch of gun-totting friends. With the help of the young girl, they manage to subdue Nix, to "bind" him (by screwing modular metal masks directly into his skull), and bury him. Cut to 13 years later. Bad-ass, supernatural-investigating detective Harry D'Amour is sent to L.A. for some well-deserved "vacations" when he stumbles upon sadistic cult members Butterfield and Ray Miller, who are hellbent on avenging Nix and bringing his binded carcass back to life. Enters Dorothea, Swann's seductive wife (played by Goldeneye Bond girl/Dark Phoenix Famke Janssen who looks more fetching than ever in a see-through bathing suit) who wishes to protect her husband from those freaks and thus hires D'Amour. As the mystery unfolds, Dorothea and Swann's backgrounds are slowly revealed by the cunning detective, while freaky Butterfield tries to locate the remains of his master. Eventually, Nix is revived and an exciting confrontation takes place between D'Amour, Swann, Dorothea, Nix and Butterfield.
A typical noir character, Dorothea is the woman who's seen too much
Although not on par with Gothic masterpiece Hellraiser, Lord of Illusions shares most of its significant assets including Barker's masterful direction that makes exemplary use of somptuous locales, a flair for editing exciting action sequences, awesome special effects and a tight screenplay featuring many twisted characters. The opening sequence alone features all of these elements neatly packed for an explosive start. Set in a rundown desert hideout (no doubt inspired by Charlie Manson's shack in Topanga Canyon), it features a fairly unusual rescue mission. Roaming through labyrinthine corridors, Swann and his commando must locate Nix and the girl amidst a sea of demented cult followers. When they do get a hold on the megalomaniac wizard, an exciting fight involving flight, telekinesis and binding rituals brings the opening act to a screeching halt. The only way to go from there is down. Fortunately, Barker keeps his story afloat thanks to strong characterization and the ever-present promise of weird and sadistic magic rituals. Bakula and Janssen are spot-on as the tough detective and femme fatale, while Barry Del Sharman is downright scary as Butterfield, the gay-looking sadist wearing skin-tight silver pants. The "magic" sequences are impressive, paramount of which is the nightclub act featuring Swann impaled by falling swords. This distinctive scene is absolutely exhilarating thanks to Barker's love for crisp editing and blood-spurting wounds. In the end, the film comes full circle and we find ourselves back at the dilapidated desert shack from the opening sequence. Although heavy on special effects, this wholly enjoyable finale ties all the loose ends together and makes for some pulse-pounding, eye-popping entertainment.
Nix gets what he deserves: 13 years in a sandy prison
Finally, a few words on the character of Nix. Interestingly enough, he is not the suave, well-mannered megalomaniac of, let's say... the James Bond films, but rather a true-to-life cult leader. He is fat, dirty, badly groomed and badly dressed, sort of a wizardly Manson whose cunning promises of doom are almost hypnotic. Everything about him is unsettling. He lacks the civilized demeanour that makes traditional villains almost loveable, and unlike Pinhead, he mostly steers clear of campy one-liners. Most of all, he is not at all fashionable, unlike Pinhead again, who almost singlehandedly invented S&M chic. Proof of his repulsiveness (which you could also call effectiveness) is the absence of plastic Nix figurines in the show cases of video stores and Nix costumes in the streets during Halloween... Cheers to Barker for fashioning this terrifying antagonist from scraps of collective fears instead of using a worn-out archetype. And cheers for blending the fantastic and realistic elements of the story so nicely as to make us fear that antagonist all the more.
3/5 Another savvy quality film from multi-talented auteur Barker.
