"Effects" is a 1979 exploitation horror film directed by Dusty Nelson. From a label standpoint, as AGFA is structurally set up to represent the exploitation blend of both those that are just structurally weird but also positionally advantageous in their unique identity, "Effects" easily fits this represented mold of things. It is on this level that "Effects" excels, as the film takes some genuine leaps to not stick to only formal narrative. It has an energy of somewhat breaking the fourth wall of things, but while it doesn't really do that (nor should it need to) it is really a testament to how advantageously different the narrative both is and dually executed. To make a long story short, the film…

Joe Pilato was so good in this. EFFECTS really is a weird little film. Mountain hideaway meta horror that captures a perfect mood. Indie film crew hijinks turns to the rough stuff, 16mm snuff. It's aged well as a Romero alum mind-blender. The moral implications and the parallels of the real and unreal. Composer John Harrison's performance is a true creepshow filmmaker. The scoreless scenes hit like real life, when reels turn, it cuts like a Bowie knife.

Autumn sleeze makes me feel fine. The most dangerous frame. Shot with gusto, The Chase gives way to dark reality. Dusty Nelson's team nailed it to the wall. The filmmakers inside the film are some sick puppies. Dominic's will to survive. Blurred…

With Savini in the cast, its low-budget, title and concept, I expected Effects to be schlocky nonsense. But this is something quite different. An extremely strange little gem that feels ahead of its time in many ways. I love the languid pacing. There's a realism to the dialogue. Character speak like they've spent the day watching Cassavetes films. Scenes are there to paint a vibe rather than advance a narrative. John Harrison's cold stares, subtle glimpses at what's to come in the insane final act, the first time we're shown a black-and-white snuff film—there's a legitimate sense of dread that sneaks into its unassuming presentation. I really like Joseph Pilato, and it's awesome to see him here, young and playing…

Unique li'l horror flick right here that I actually dug quite a bit and think I need a couple more viewings for it to really set in just right.

Bit of a meta-trip here as we follow the behind the scenes crew of a horror flick, mostly focusing on the cameraman and gaffer who seem to be falling in love.
Soon enough Tom Savini shows up as the most coked out dill-weed role of his lifetime and then at some point the director reveals a "fake" snuff film. Eventually it happens as it always does... yes you guessed it...
C A L A M I T Y E N S U E S ! ! !

Unique is really the…

Day 9 – Effects (1979, dir. Dusty Nelson)

You can tell it’s a 1970s horror film within seconds — a naked shower scene in the first minute. Here it’s almost Brian De Palma-like: lingering, but strangely casual. Debra Morgan, razor in hand, shaving her legs, then a toke before some coke, then a smile. She’s instantly magnetic.

Morgan, long-time Romero collaborator, appears alongside Joseph Pilato, both of whom would later turn up in Dawn of the Dead and Day of the Dead. The film was written and directed by Dusty Nelson, with cinematography by Carl Augenstein and editing by Pasquale Buba. The composer is John Harrison — also the film’s producer and co-star, playing Lacey Bickel. Harrison’s score stands out:…