Eric Edwards crafted this rather thoughtful, introspective feature, in which he plays with fantasy and filmmaking in an unusual way. This couldn't be farther away from the Fellini model that dominates that genre, but once you get into it -perhaps best to have a second viewing some time later, there's a quiet spell generated.
Until the revelation in the final reel, I had trouble getting involved in what unfolds as simply a series of sort of erotic daydreams by Mike Horner's character. At one point his co-worker Tony Martino fills in a couple of blanks in conversation, as we learn that Connie (a character never shown) walked out on Horner and he's been a loner ever since. Tony tries to fix him up with his own girlfriend (Selena Steele, not the star of this movie but a superstar nonetheless) but Mike sees through his ruse and isn't about to countenance a mercy f*ck.
After he finally finds sexual satisfaction with the lovely Melissa Moore, Mike, in a wonderful sleight-of-hand by filmmaker Eric Edwards, becomes the movie's auteur, namely representing Edwards (who we have only seen on screen in a cameo walking down the hall of Mike's apartment building). Mike is dictating his idea for a screenplay to Melissa and it essentially represents the story of the movie we've just watched. Edwards uses a sort of trompe l'oeil effect by having Mike & Melissa walking up a flight of stairs as he tells her the arc of his movie concept and they rise above the ceiling of a movie sound stage, which was used for shooting "The Visualizer".
Title makes sense, as Horner, seemingly a voyeur, was actually visualizing in his mind the movie we've been watching -we see the settings from a god-like point-of-view high above. Like Hitchcock, without being as pretentious as I'm making it sound, Edwards as director reveals his intentions, and it's up to the viewer to decide how successful he was.
Besides this intriguing, largely forgotten movie, Edwards as director has other serious projects I admire, including "Memoirs of a Chamber Maid", "Soft Warm Rain" and the two-part "Mirage".
Until the revelation in the final reel, I had trouble getting involved in what unfolds as simply a series of sort of erotic daydreams by Mike Horner's character. At one point his co-worker Tony Martino fills in a couple of blanks in conversation, as we learn that Connie (a character never shown) walked out on Horner and he's been a loner ever since. Tony tries to fix him up with his own girlfriend (Selena Steele, not the star of this movie but a superstar nonetheless) but Mike sees through his ruse and isn't about to countenance a mercy f*ck.
After he finally finds sexual satisfaction with the lovely Melissa Moore, Mike, in a wonderful sleight-of-hand by filmmaker Eric Edwards, becomes the movie's auteur, namely representing Edwards (who we have only seen on screen in a cameo walking down the hall of Mike's apartment building). Mike is dictating his idea for a screenplay to Melissa and it essentially represents the story of the movie we've just watched. Edwards uses a sort of trompe l'oeil effect by having Mike & Melissa walking up a flight of stairs as he tells her the arc of his movie concept and they rise above the ceiling of a movie sound stage, which was used for shooting "The Visualizer".
Title makes sense, as Horner, seemingly a voyeur, was actually visualizing in his mind the movie we've been watching -we see the settings from a god-like point-of-view high above. Like Hitchcock, without being as pretentious as I'm making it sound, Edwards as director reveals his intentions, and it's up to the viewer to decide how successful he was.
Besides this intriguing, largely forgotten movie, Edwards as director has other serious projects I admire, including "Memoirs of a Chamber Maid", "Soft Warm Rain" and the two-part "Mirage".