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F/X 2 AKA F/X 2: The Deadly Art of Illusion AKA FX2 (Blu-ray)
[Blu-ray]
Blu-ray B - United Kingdom - Arrow Films Review written by and copyright: Paul Lewis (8th August 2025). |
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The Film
 F/X: Murder by Illusion (Robert Mandel, 1986) and F/X 2 (Richard Franklin, 1991)  Arrow Video have released on Blu-ray a double-bill of cult favourite F/X: Murder by Illusion (Robert Mandel, 1986) and its sequel, F/X 2 (Richard Franklin, 1991).
F/X opens with a bravura sequence in which a man enters a restaurant at night before shooting the patrons with a submachine gun. This is quickly revealed to be a scene that is being shot for a film, with the special effects work being supervised by Rollie Tyler (Bryan Brown). Rollie is approached by Lipton (Cliff De Young), a representative of the Justice Department. Lipton asks for Rollie’s help. Mobster Nicholas DeFranco (Jerry Orbach) is being held in custody, but the mob have put out a contract on DeFranco. The Justice Department want Rollie to stage a fake public assassination of DeFranco. Rollie is cautious but accepts the job when offered a large, tax-free paycheque. He works with his assistant, Andy (Martha Gehman), to stage the hit on DeFranco, with Rollie playing the role of DeFranco’s assassin. However, someone fools Rollie, switching the blanks in the gun with real bullets, and DeFranco is killed. Rollie goes to ground, blamed for DeFranco’s murder and pursued by the Justice Department. He seeks shelter with his lover, Ellen (Diane Venora), but she is killed by an ex-cop named Adams (Tim Gallin). Police detective Leo McCarthy (Brian Dennehy), who coincidentally arrested DeFranco, is tasked with investigating the deaths of Ellen and Adams.  McCarthy pursues Rollie but becomes skeptical about Rollie’s guilt. Eventually, Rollie (and his sidekick Andy) come into contact with McCarthy. They team up and, working together, attempt to root out the real bad guys within the Justice Department.
F/X is ultimately a film about the blurring of the boundaries between the real and the simulated, its opening sequence establishing the script’s intention to pull the proverbial rug from under the audiences’ interpretation of what is taking place on screen. The film opens with a massacre in a restaurant which is revealed to be part of a film-within-the-film. The confusion of “real” and “fake” continues throughout the picture, with Rollie’s staged assassination of DeFranco becoming an apparently very real murder through the switching of blanks for real bullets. (Then again, even this moment is undercut by the revelation in the film’s climax that DeFranco is really alive – and the whole plot has been crafted in order to facilitate the mobster’s flight from the country, under the cover story that he was killed by Rollie in the restaurant.) A thesis could be written about F/X’s relationship with French philosopher Jean Baudrillard’s ideas regarding simulacra, outlined in the essay “The Map Precedes the Territory” – in which Baudrillard argues that the confusion of “real” and “simulacra” (copied) within spectacle-based society has led to a “desert of the real,” where copies exist of copies and the “real” is impossible to determine. Equally interesting is F/X’s reference to the visual and thematic motifs of film noir. The script has the structure of a noir: Rollie is the patsy in the hit on DeFranco and must go to ground in order to protect his life. He hides out at the apartment of his girlfriend Ellen (Diane Venora), who points Rollie to a moment of epiphany: that Rollie, and the promise that the supposedly fake hit on DeFranco would be staged by a professional effects artist, was the bait used to lure DeFranco from his position of safety. Ellen is shot by a sniper. It’s a shocking, unexpected moment that underscores the precariousness of Rollie’s position, heightening the stakes.  In fact, the film toys with audience identification with Rollie. For much of the picture, we assume that he carries some guilt for the (supposed) death of DeFranco, but in the final sequences the script assuages Rollie of that guilt. (Furthermore, Rollie is also somewhat culpable in the death of Ellen.) For all its SFX bells and whistles, F/X is a picture with some moral complexity, something that is compounded by the film noir-esque visuals, with lots of chiaroscuro lighting and nighttime shots of rain-slicked city streets.
F/X was based on a spec script submitted to the producers. The script, by Gregory Fleeman and Robert T Megginson, was written with the intention of it being as a television movie, but producers Jack Wiener and Dodi Fayed saw potential for it to be made into a theatrical feature. A modest commercial hit, F/X was followed by a sequel, F/X 2, in 1991. Other than the anchoring presence of Brown and Dennehy in the cast, F/X 2 had a completely different creative team behind it. This time directed by Australian filmmaker Richard Franklin, a filmmaker most closely associated with sexploitation and horror films, F/X 2 was beset by a troubled production period. Franklin apparently stepped away from the production in the final weeks, with some sources suggesting personal issues and others hinting that Franklin was struggling with the demands of making such an effects-heavy Hollywood picture, and Vic Armstrong (credited as second-unit director) stepped in to complete the picture. Armstrong wrote in his autobiography The True Adventures of the World’s Greatest Stuntman that Jack Wiener, one of the producers of F/X 2, called Armstrong and confided that he believed Franklin was going to leave the production. Wiener asked Armstrong to step into the director’s shoes. Expecting confrontation, Armstrong met with Franklin, who was instead grateful to be relieved of his duties on the film. Armstrong speculates that Franklin was experiencing personal issues at the time and also that “there was a lot of stuff happening behind the scenes that I didn’t know about.” Armstrong vowed to finish the picture, telling Franklin that “it’s still your movie.” Armstrong was even more confused when Franklin turned up to the wrap party, after Armstrong had completed the final three weeks of production.  Whatever the reasons for Franklin’s disappearance from the production, the finished picture demonstrates a deft handling of its action-heavy plot, one that could easily demonstrate the directorial touch of Armstrong in a number of its sequences. (Armstrong had considerable experience as a stunt director, on the Indiana Jones pictures and James Bond films, alongside having worked as a second unit director.)
In F/X 2, we find that Rollie has retired from working in the movies, and is now a toy-maker with a loving girlfriend, Kim (Rachel Ticotin). Rollie also has a good relationship with Kim’s young son, Chris (Dominic Zamprogna), and Kim’s ex-husband, police detective Mike (Tom Mason). Mike asks Rollie to help on a case involving a peeper who the cops think may escalate into violence. Rollie concocts a scenario that involves Mike masquerading as a woman to lure the peeper into a trap. However, Mike is killed, and when the police shoot the peeper, it appears to be an open-and-shut case. Rollie, however, is not so sure: he believes that Mike was killed by someone other than the intruder, despite the protestations of Mike’s boss, Lieutenant Silak (Philip Bosco). Rollie calls his old pal Leo McCarthy and asks for his help. After Rollie defeats a would-be assassin with the help of a remote-controlled robot clown that he created as a toy, he is rescued by McCarthy. The pair hide out at McCarthy’s place, which is an old drinking establishment. McCarthy tells Rollie that Mike was looking into an old case. Rollie bugs Silak’s telephone and discovers the Lieutenant has been communicating with a former gangster-turned-stool pigeon, Neely (Kevin J O’Connor), who is serving time in prison.  Neely, it seems, has become the confidante of Becker (Peter Boretski), an old school gangster who is dying of emphysema. Becker was reputed to be involved in the theft, twenty years prior to the events depicted in the film, from the Sistine Chapel of a number of gold medallions sculpted by Michelangelo. However, Rollie and McCarthy’s investigation puts not only their lives in danger but also the lives of Kim and young Chris.
F/X 2 opens in a similar way to its predecessor: with an action sequence that is swiftly revealed to be part of a film shoot. In this sequence, a huge woman throws a man through a store window. The police arrive, and a shootout ensues. It’s revealed that the woman is in fact a burly man (complete with an Arnold Schwarzenegger-type accent provided in the overdub) – and this man is in fact a robot. (The sequence is awash with allusions to James Cameron’s The Terminator.) Incidentally, the actor playing the cyborg assassin is James Stacy, who had lost his left arm in a motorcycle accident during the early-1970s; Stacy’s missing limb is integrated into the effects work for this scene (the cyborg’s arm is blown off by the gunfire from the police). As the restaurant assassination sequence that opened F/X foreshadowed a core aspect of that film’s narrative (the “fake” assassination of DeFranco that takes place later in the plot), the opening sequence of F/X 2 establishes the sequel’s emphasis on robotics. This becomes significant later in the film, when Rollie uses a telemetry suit (essentially a robot clown controlled remotely by a suit that Rollie wears) to defeat a would-be assassin. McCarthy comes out of his shell as a ladies’ man in this picture, with not one but two love interests: former schoolfriend, and now Assistant District Attorney Liz Kennedy (Joanna Gleeson); and police computer expert Velez (Jossie DeGuzman). Tragically, Velez is killed during the investigation, in a scene that mirrors the killing of Rollie’s lover Ellen in the original F/X.  There are some excellently-staged action sequences in this picture. Notable amongst these is the sequence in which Kim and Chris are placed in peril in an after-hours shopping mall, and must use their wiles to escape. (The sequence culminates in Rollie arriving to save them, before using a shrink-wrap packing machine to nearly suffocate the assassin, before interrogating him.)
Admittedly, much of the film’s plot doesn’t make a great deal of sense if one looks at it in the cold light of day; to a greater extent, the story is carried along by the chemistry between the leads. Brown and Dennehy make a great pairing, and watching this film “back in the day” it was great to see them return to the roles of Rollie and McCarthy – even if the picture, taken as a whole, was remarkably uneven. The film is also propelled by some absurd gadgets (the aforementioned “telemetry” suit is a prime example), and in fact – given Vic Armstrong’s cursory involvement in directing the final three weeks of production – F/X 2 has a similar tone to the late-era Roger Moore Bond movies. In the words of Rollie (to Mike), “If there’s one thing I’ve learned, it’s that nothing is as simple as people say it is.” Both films were followed by a mediocre television series that ran for two seasons between 1996 and 1998.
Video
 Both films are housed on separate discs. F/X fills approximately 30Gb of space, and F/X 2 is approximately 32Gb in size.
Both presentations are in 1080p, using the AVC codec. Both F/X and F/X 2 are presented in their original theatrical aspect ratio of 1.85:1. F/X has previously been available on Blu-ray in the UK, from 101 Films, in a presentation that, frustratingly, was in 1080i50 – and therefore with a compacted running time. This new release from Arrow is in the correct theatrical frame rate, with a running time of 108:35 mins. F/X 2 is also uncut and with a running time of 108:11 mins. Both films were shot on 35mm colour stock. The presentations of both pictures are relatively equal in terms of their respective qualities. Detail is excellent in both films, with strongly defined fine detail being present in close-ups. Colours are rich and deep, and skin tones are natural. There is little to no source-related damage evident in the presentations of both films. Contrast levels are also handled very well in both presentations, with defined midtones accompanied by a subtle curve into the toe. This is particularly noticeable in the night-time sequences in both films – for example, the superbly-realised night-time aerial shots of the city that open F/X 2. Blacks are deep and rich. At the shoulder, highlights are even and balanced. Strong encodes to disc ensure that the organic grain structure of the 35mm source material is also retained. In sum, these are both excellent presentations of their source material, eclipsing previous home video releases – particularly in the case of the original F/X, whose prior UK release on Blu-ray was hampered by being presented at the wrong frame rate. NB. Some full-sized screengrabs from both films are included at the bottom of this review.
Audio
Audio is presented in both films via a LPCM 2.0 track, accompanied by optional English subtitles for the Hard of Hearing. The audio tracks are solid, with strong depth and range. In the case of F/X 2, this includes the track’s handling of the film’s bassy, pounding score. The subtitles are clear, easy to read, and accurate in transcribing the film’s dialogue.
Extras
The discs contain the following extra features.  DISC ONE
- F/X (108:35). - Audio commentary by Mike White. Journalist and podcaster Mike White provides an enthusiastic commentary track for the film. White talks about the personnel involved in the production, with a good portion of the track devoted to background trivia about members of the cast and crew. - Audio commentary by Daniel Martin and Jennifer Handorf. Daniel Martin is an effects artist, and Jennifer Handorf is a film producer. The pair reflect on the film, with Martin expressing his fandom of F/X. Handorf says that she was only introduced to the film, by Martin, about 10 years previously. The two commentators have a strong rapport, and this is an extremely engaging track – like watching the film with a pair of enthusiastic pals. - “The F/X of F/X” (15:11). In a new interview, the film’s special make-up effects supervisor, Carl Fullerton, talks about his role in the production. Fullerton says that his firs thought upon reading the script was that it was “about time” that such a premise was developed. Fullerton reflects on his path to becoming a make-up effects artist, his association with Dick Smith, and discusses his memories of working on the picture. He praises Bryan Brown and discusses the process of creating the disguise make-up for Brown. Fullerton also talks in depth about the pivotal “hit” that takes place in the restaurant and explores some of the different prosthetic effects that he designed and implemented for the film. - “F/X Illusions” (12:22). Entertainment journalist Heather Wixson narrates a video essay about F/X. The video essay isn’t tied to a specific theme or topic but offers a holistic overview of the film. It’s heavily descriptive of the film’s plot and characters, which is fine for what it is, but one can’t help but wish for something a little more analytical – perhaps exploring the relationship between the film and its noir-esque themes. Wixson’s tone is engaging but a first time viewer would be advised to avoid watching this before the film, whereas someone familiar with the film might find the whole thing a little redundant inasmuch as Wixson’s script predominantly rehashes and describes the film’s plotline. - “Murder by Illusion” (13:51). This is an archival interview with director Robert Mandel, who talks about how he came to be involved in the F/X project following the release of his film Independence Day. When Mandel became involved, he brought Alan Ormsby (director of on board to rewrite the script, and Ormsby injected much of the humour that can be seen in the final picture – whilst also “pulling back the exploitative ‘B’ moments.” Mandel also talks at length about working with the principal actors. - “The Making of F/X” (14:11). This archival promotional featurette begins with a wonderful moment in which Brown addresses the camera and tells the audience (convention-goers) that he hopes they “don’t get too pissed.” Scenes from the completed picture are intercut with behind-the-scenes footage and interviews with some of the principles. - Trailers: F/X – Murder by Illusion (2:36); F/X 2 – The Deadly Art of Illusion (1:52). - Original Production Notes (41 pages). - Original Sales Sheet (2 pages). - Image Gallery (102 images).  DISC TWO:
- F/X 2 - Audio commentary by Dan Martin and Jen Handorf. As with the pair’s commentary on the first F/X, this audio commentary is engaging and entertaining. They open by highlighting some of the input of the key personnel involved in the production, then settle into a conversation about the fact that the sequel feels very much part of a different decade to the original F/X. - “Art and Illusion” (16:50). Eric Allard, the film’s special make-up effects supervisor, is interviewed about his career and processes. Allard talks about how he scored the F/X 2 gig after working on Short Circuit with John Badham. Allard discusses working with actor James Stacy, who had his left arm amputated following a motorcycle crass in the 1970s, and using Stacy’s status as an amputee within the effects for the film’s opening sequence. He also reflects on working with Bryan Brown, and explores the logistical issues presented within the filming of the film’s climactic effects work. - “F/X Magic” (12:10). Entertainment journalist Heather Wixson narrates another video essay, this time looking at F/X 2. This video essay considers the appeal of the films, and like Wixson’s contribution to the first disc, offers a precis of the film’s plot that anchors on descriptions of the key setpieces within the plot. - “The Australian Invasion” (14:02). Alexandra Heller-Nicholas narrates a video essay that highlights the integral role of “Australian talent” to the F/X films, in the presence of Bryan Brown and Richard Franklin. Heller-Nicholas underscores the emphasis that the film’s place on Brown’s “Australian-ness” by not requiring Brown to adopt an American accent (unlike performances by other Australian actors, such as Nicole Kidman, in broadly contemporaneous Hollywood productions). - “The Making of F/X 2” (6:32). This promotional featurette offers clips from the film alongside interviews with some of the key cast and crew. - “Behind the Scenes” (3:03). Created for inclusion in the film’s EPK, this videotape footage offers glimpses of the production, alongside to-camera comments from Brown, Dennehy, and other members of the production. - “Inside Eric Allard’s Workshop” (9:50). This contains footage captured on videotape during the production of F/X 2 by Eric Allard, the film’s make-up effects supervisor. - Trailers: F/X – Murder by Illusion (2:36); F/X 2 – The Deadly Art of Illusion (1:52). - Image Gallery (44 images).
Overall
Cult favourites and remarkably different in tone from one another, F/X and F/X 2 work surprisingly well. Both pictures delve into the themes and structure of film noir, whilst adding a gloss of Eighties action and a soupcon of James Bond-esque gadgetry. Brown is, as always, a thoroughly likeable lead, and his interactions with Dennehy are a joy to watch. Arrow Video’s Blu-ray release of F/X and F/X 2 easily eclipse the films’ previous UK home video releases – particularly in the case of the first film, whose prior UK high-def release was beset by being presented at 25fps. The excellent presentations of both films are accompanied by some equally impressive extra features. Arrow’s set offers a double hit of nostalgia that will without doubt please the fans of both of these pictures. Please click the screengrabs below to enlarge them. F/X 
F/X 2 
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