Lord of Illusions (1995)
Average Rating: 5.7/10
Reviews Counted: 19
Fresh: 13 | Rotten: 6
No consensus yet.
Average Rating: N/A
Critic Reviews: 2
Fresh: 1 | Rotten: 1
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Average Rating: 3/5
User Ratings: 10,887
My Rating
Movie Info
A private investigator hired to protect a popular stage magician finds himself drawn into a dark, occult underworld in this supernatural horror film from writer-director Clive Barker. With several nods to film noir tradition, the danger begins for detective Harry D'Amour (Scott Bakula) when he is approached by a beautiful woman, Dorothea Swann (Famke Janssen). Dorothea is married to Philip Swann (Kevin J. O'Connor), a wealthy illusionist who has found fame by disguising real magic as stage
Aug 25, 1995 Wide
Sep 29, 1998
MGM Home Entertainment
Cast
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Scott Bakula
Harry D'Amour -
Kevin J. O'Connor
Philip Swann -
Famke Janssen
Dorothea -
Vincent Schiavelli
Vinovich -
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Sheila Tousey
Jennifer Desiderio -
Wayne Grace
Loomis -
Joel Sweto
Valentin -
Susan Traylor
Marueen Pimm -
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J. Trevor Edmond
Young Butterfield -
Joseph Latimore
Caspar Quaid -
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All Critics (29) | Top Critics (9) | Fresh (13) | Rotten (7) | DVD (7)
Barker's visual side dominates its literary equivalent this time out, resulting in a time-killer that may amuse fans until illusion is shattered by the rolling of the end credits.
a cool flick from the master of grotesque
A terrific little horror film expertly renderd from Barker's own short story.
Better than people give it credit for, especially if the viewer fully appreciates the gay subtext.
Odd, but not uninteresting horror opus from Clive Barker.
High concept, wavering script, completely weird.
A shocking, thrilling, anything goes film noir bloodbath that even has a baboon as a character!
Part Noir, Part Scarefest....Prepare to be Blown Away by it's uniqueness
...spooky atmosphere and mood, good acting, good pacing, good direction. And one of the biggest shortcomings I've seen in an otherwise promising horror film.
Audience Reviews for Lord of Illusions
Super Reviewer
The battle-between the flesh and this world is eternal, and Clive Barker throws us into the midst of this battle. The film begins in-flashback to a cult-compound that looks a disturbingly-similar mix between the Branch Davidian one in Waco, and Spahn Ranch in Death Valley (once-populated by the Manson Family). This is the story of the birth of a religion, and where-else do they usually begin? The desert, of-course. But Barker takes-it-further, and we get what could be taken as an inversion of the Christian-myth of Jesus. Nix is the messianic-figure, who tells his disciples, "Fire spoke to me and said--NIX, you are the chosen-one, the Puritan." Unlike Christ's meeting with Satan in the desert, Nix succumbs-to-temptation, and his hatred for the material-world. Has he met-with darkness, or fire-itself, an elemental-force? Barker let's US decide throughout what we are seeing-and-hearing--yes, he's playing-with us. Maybe this isn't an inversion of Christianity, after-all...
But, Nix is betrayed in the opening-prologue by his chosen-one, Swann. 13-years pass, and Swann is an incredibly-successful stage-magician, using the skills taught him by Nix. He has a consort in Dorothea, and in a direct-reference to Gnosticism, a wizard's assistant in Valentin. Being our cinematic eyes-and-ears, we are introduced to the Detective Harry D'Amour, a gumshoe with a penchant for the unknown in the occult-underworld. We get-treated to some great film-noir moments thanks to Barker's genius-take on the P.I. character, and it blends with horror effectively. A lot of credit has to go to Scott Bakula for his performance as D'Amour, it's a tightrope-role that requires a subtle-approach, with a little humor and cynicism. He's our surrogate, and his disbelief is crucial to our accepting the realities of this story, a tall-order! I believe Barker and his collaborators succeeded in-spades.
Interestingly, Clive makes a wonderful-homage to Orson Welles (himself an illusionist of high-caliber) in the early murder-scene of the fortune-teller. It's shot in the very-same Venice locations as Welles' "Touch of Evil" (1958), a noir-classic. In some-respects, this film also resembles Welles' "Mr. Arkadian", with a detective searching a man's past as the central-narrative--this was also copied by Alan Parker and his writers on "Angel Heart" (1986), another classic of horror. Barker also references Mario Bava's "Black Sunday" (1960) with the tale of a resurrected-witch/wizard, and the mask that punctures Nix's face into a ghastly-visage.
By the end of the film, it's clear that Nix has come to destroy the world, and we are shown realities we'd rather forget. In-a-sense, there are many criticisms of ALL world religions here, even esoteric-ones. Barker condemns the notion that it is the world that corrupts, and that material-reality is the only source-of-evil and destruction. Mankind can be that essential-ingredient ("Fire spoke to me and said...") of chaos and destruction--we hold our fates in our own-hands, we are that hand-of-fate in occultism.
We stare into-the-abyss, like Nix and Swann, and realize there is nothing, only ourselves. WE are the meaning in the universe, because we create that meaning. Nix, his followers, and Swann succumb to this, and decide non-existence is better. Harry D'Amour, and his allies in the story, do not. The battle, then, is between creation and destruction, not good-versus-evil. D'Amour and Dorothea are an erotic and productive-dyad, whereas Swann and Nix are not. The Apocalypse is always in human-hands when individuals succumb to the forces of the universe that are destructive. They have given-up.
Its too bad we didn't get any more Harry D'Amour films or tv series that was talked about at one time. This movie was a great start to new horror/fantasy series. Maybe we will see D'Amour back on screen one day
Super Reviewer
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