Tricks that are considered "bad" can be great with the right presentation. I have seen people kill with ball vase. Performing is a separate skill you cannot buy, you have to learn it and practice it more than any sleight.
AMEN, BROTHER. . . AMEN!
You can give a dozen magicians the same exact effect and even staging and yet audiences will react differently to each presentation because of the performer his/her self. It's that strange "thing" we give off that's usually seen as "confidence" that does more to make or break both, the act as well as an effect.
Presentation, as in scripting & choreography of action is paramount even if you're presenting a piece in "mime". . . if you don't know how to use your body language to convey "magic" how can you create it? IF, for an example, you don't believe the coin is actually taken by the one hand. . . if your body language betrays that belief or "assumption", the audience won't accept the mystery you're trying to create when the coin finally vanishes.
LeRoy introduced the Asrah Levitation in 1902 and received horrid public reactions. If I recall the tale, the prop was given to a friend who turned it into a sensation. As an effect developer I see this all the time; there are many concepts that I come up with that would never work well in my hands in that I visualize a certain performer doing the routine as part of my process; I've superimposed their working style, personality, etc. into the piece so when it's in their hands or that of a similar performer, the audience reaction will prove strong. This however, addresses that other side to the question, as to if it's the effect that creates the impact, and to some significant level, there is a truth to this; not everyone has the ability to "sell" a piece from the stage. In fact, the biggest mistake most people make when they get into big illusions, is thinking that owning the box is all they need. . . bit illusion work is murder! It requires so many little things to be effective, so it's not just "the trick" even though having the right version of an effect and the right sequence of actions, etc. ALL work together in bringing about the desired final outcome.
Favorite Effect?
This has to be one of the most asinine questions put out on any magic forum (other than "what is the best. . . " type questions). . . and I'm not saying that as an insult to you, KJmajik (wow. . . that's a brave name, given who KJMagic actually is). The reason centers on perspective as well as experience. As an Illusionist that worked with big props for twenty some years I have two particular favorites from that world; the Asrah and the Sawing BUT, we need to put things into deeper context in that not all Asrah styled effects work the same, nor do all sawings. . . the breakdown can get intricate as well as "circular". . . the Sawing in Half as an example. . . my favorite to work on stage is the Thin Model, I have more fun with it than any other version going though I did a rather dramatic and gruesome Buzz Saw here and there. For the romance of it all, I absolutely love the Thurston Sawing because, even with the huge boxes that are used, etc. it's totally bewildering even to trained eyes. Then we come to this one; the most impossible variation I've ever seen worked and it's quite close to the original idea.
[video=youtube;4lcbk4VcUwQ]http://www.youtube.com/watch?v=4lcbk4VcUwQ[/video]
But these things are my favorites within one small area of magic, there's so much more and so many other reasons why I prefer one over another as a performer vs. my role as a spectator or technician. It's a matter of personal perspective.