Trance

Danny Boyle, a renowned director of stage and screen, not to mention a writer, directed the 2014 "Trance" -- and from a brief look at the reviews, people either loved it or hated it.

I hated it.

I'm always fascinated by films about art heists, but this time, I felt let down. That's not to take away from the originality of the story, but for me, it became too convoluted.

In London, an auctioneer, Simon Newton (James McAvoy), helps a gang, headed by a man named Franck, to steal a valuable painting at the auction house. Simon gets into a car accident and claims not to remember where he hid the painting. The gang sends him to a hypnotherapist (Rosario Dawson), under an assumed name, and record him -- he doesn't say he's looking for this painting, obviously, since it's all over the news, so he says he's looking for his keys.

The hypnotherapist turns out to be quite a character, and one can't really tell for a time if she's in league with the gang or trying to help Simon, as she plays both sides. It all gets kind of crazy from there, with murders, sex, car chases and hypnosis.

I love the plot, and normally, I like a complicated, involved story, but I admit that after a while, I gave up and didn't know what was happening. It reminded me a tiny bit of Memento, but that film was a lot more straightforward. This movie started out suspense and toward the end turned into a crazy horror movie.

The acting was good, with perhaps the exception of Rosario Dawson. First of all, she had an impossible role. Secondly, I am absolutely certain that in some scenes she didn't know what her attitude was supposed to be. It's not too much of a stretch that these actors lost their way in the script as well. I can't imagine anyone having to sit down and read it.

I think Danny Boyle is one of those people who, when he's good, he's fabulous, and when he's less than that, he's confusing.

From directing Bollywood, Sci-fi and Zombie flicks, to action thrillers to the London 2012 Olympics, Danny Boyle is the most versatile director in the industry. Currently at the top of his game, Boyle directed Trance parallel to the Olympics on the same shooting schedule in the same weeks (literally!). In interviews he said relative to the Olympics that Trance is the 'dark cousin of the Olympics'. Boyle brings us a character-based, twisty thriller, just like the ones from the 1990's that launched his career.

Trance is introduced with a Scorsese sprint-heist, where Simon (James McAvoy) is an inside man on stealing a £27,000,000 Goya painting from his job at an auction. When Simon double crosses his partner Franck (Vincent Cassell) he suffers a strike to the head, leaving him with amnesia. In order to find out where he hide the painting he must take hypnosis sessions to revive his memory. But as lines blur and hypnotic suggestion takes over, the situation gets darkly complex.

Keeping you indulged for its entire one-hundred and seventeen minutes running time the film is imperatively based on narrative. Forget CGI and the rest. To make a good film use the three things that Hitchcock says is essential in film-making, 'the script, the script and the script'. Boyle does this wondrously.

While Boyle assembled his old gang behind the camera, in front of it, they're all new faces for the film-maker, and they all rise to the occasion. Vincent Cassel at first seems to have the least interesting part of the film. The same sort of character he has played in the Ocean movies. Meanwhile other cast members such as James McAvoy and Rosie Dawson give the best performances of their careers. McAvoy in fact has never been so good. Appearing in two films on this months release (also Welcome To The Punch). He breaks his character type and shows his malevolence.

The film is a trippy heist thriller. Think Fight Club, Inception, Memento and The Sixth Sense and the style of story and endings. Trance is no exception. Even as we left the cinema other audience members where throwing around the Nolan word. But this film does seem like it has earnt the comparison. Compiled with complex script flips and twists the film is all solved in the final act, much like Nolan's films.

Having earnt its deserved rating of 15 the violence and excessive swearing are throughout. And all of the three of the main cast are seen at one point of the film both naked and abused. Interesting, eh? This is one film that should not be missed. Released tomorrow (March 26th 2013) this film is highly recommended.

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The first 40 minutes, I was excited & impressed. I like James McAvoy, I think he's a really good & charismatic actor. And Vincent Cassel, in my opinion, always delivers. The movie pumps you up with an intriguing storyline, flashy & artsy camera shots & angles, thrilling scenes backed up with a really good musical score. Then enter Rosario Dawson. It has been a steady downward spiral from that point on. No, it's not because of her, although I thought she looked a bit tired 90 % of the film. It's the plot and the shameful use of hypnotherapy as the driving force of the whole movie. Hypnotherapy as the structure of the movie? That makes the plot shaky at best. The moment Rosario inserted herself in the scheme I found myself shaking my head more and more.

Trance almost had everything that makes a movie work. Good cast, great direction, interesting cameraworks, good editing, stylish neo-noir execution, and really great music. Unfortunately, like poor Tin Man without the heart and The Lion without courage, this one has a weak script which essentially takes away the soul of the movie. It's a classic case of style-over-substance, easily disguised as a mind-bending intellectual movie with the use of "is this real?" sequences, change of perspective, and thrill rides, that can masterfully dupe the audience into thinking that they're watching Leo with a Spotless Mind.

Danny Boyle has style, that's for sure, but he should have given equal attention to the plot as he did to his camera shots & artsy vibe of the whole film. It's not at all bad, the music and style is enough reason to enjoy this movie and send you in a 100-minute trance-like state, but after the credits roll, like a snap of a finger, you wake up after that trippy ride, shake your head, look around, and mutter, "Seriously?"

2012 was the year that Danny Boyle became a national hero for many in his domestic Britain after masterminding a stunning opening ceremony of the Olympics. Seemingly able to satisfy even the sternest of sceptics with a rabid display of flair and flamboyance, he became elevated to a hallowed level of reverence. In the weeks that followed, he seemed to acquire an approval rating that most politicians would have gawped at, green eyed with envy. He stands tall as an icon of the every man, with an unaffected regional accent and amiable demeanour, with a dose of easy going charm. Beneath this genial appearance is a voracious talent that is testament to many years of hard work alongside any natural ingenuity. Lauded with plaudits and success, it would appear he can do no wrong. Or can he?

Returning to his day job, Boyle re-enters the film arena with Trance, a London-based psychological thriller that rushes around with about as much calm and patience as an ADHD sufferer. He has said that he was finishing this project whilst he was working on the Olympic opening ceremony, and that this should be viewed as its 'dark, evil cousin'.

Starring Vincent Cassel, James McAvoy and Rosario Dawson, Trance undertakes a card shuffling roll call of sympathy and understanding. Early on, McAvoy's Simon misplaces a valuable painting. Under the persuasive encouragement of Cassel's band of criminals, he ends up seeking the counsel and help of hypnotist, Elizabeth (Dawson), to retrace his steps. Although the backdrop for the film is that of a common theme; a heist, it is merely window dressing for what is an indeed dark and, heck, schizophrenic joyride into the mind.

With a nodded cap to the disorientating freewheeling narrative of Nolan's Memento, this film glides along a bumpy path. It takes pleasure in scrutinising the tricks and tics of memory. Boyle plays chess with the players and moves them around with the devilish glee of a ringmaster induced with the cruel egomaniacal urge of a cartoon villain. You can almost hear the grind of his hands rubbing together as he plots each skittish twist and turn. This is aided, helpfully, by Joe Aherne's source material and the screenplay's joyfully itchy nature. The film also has echoes of Inception. But with added sex.

Daring to make this an adult film and not dilute it in order to make it accessible for a wider and broader audience, he does not eschew from graphic and explicit depictions. He performs with the cinematic frisson of a British Tarantino, but without Quentin's fondness for a baggy screenplay. Having said that, and although such comparisons make for neat phrases for critics to write, Danny Boyle is very much his own man. His films are all underpinned by his stylistic stamps of authorship. In fact, as it tends to be a defining quality of all of Boyle's films, this one does not disappoint in its assault on the senses. The thumping soundtrack plays havoc on the ears and the fast cuts fix into the eyes with the precision of a laser beam.

Not everything is welcomed wholeheartedly and with open arms, however. As much as the virtues of Trance are easy to spot and identify, it is also somewhat flawed. So much emphasis seems to be placed on tripping the audience (in every possible sense) that the film renders itself a little distant to the sense of touch. The characters are slippery and the consequence of such skillful toying with the assumed integrity (or lack thereof) of the protagonists leads inevitably to an arms space from empathy.

In addition to this, the relentlessly florid displays of directorial showmanship makes the pacing a little too one-sided. So persistent is the pace that the runtime feels a little longer than the 101 minutes that it forms and you may well emerge exhausted as the lights come up. Maybe the frenetic nature of Trance is a deliberate counterpoint to the relative stasis of 127 Hours. As it stands, this film zips along at a speed that would make even Usain Bolt baulk and cower with fear.

Any quibbles mentioned do not deviate the bottom line verdict. This film is, on balance, a mighty success. It may not be as charming and lovable as the Oscar garnering Slumdog Millionaire, but it is a relentlessly entertaining thrill ride. It stands as an hour and forty minutes at a cinematic equivalent of the best theme park you could name. Hold on tight and buckle in.

Danny Boyle returns to his mind boggling roots, such as Sunshine and 28 Days Later, with Trance. Trance has a thought provoking concept that might bring some memorable mind blowing amazement on screen. It shows its high concept pretty well and it lets the audience fascinate from start to finish. Further on, the story develops a strange twist which leads to an awkward conclusion. Despite all odds, the film is thankful to have Boyle creating a brisk style throughout the experience and a set of brilliant performances making it more than entertaining. It's a little disappointing, but most of the film is really worth watching.

The plot is simple, but the idea beneath it is what makes it sound more than just simple. It begins with a stylishly shot heist sequence that gives so much promise to the picture. It gets even more interesting when it introduces its hypnosis. It shows plenty of smart ideas to it. There are some point that may remind you of Inception but the film also finds some clever ways to make it look unique. It eventually becomes twisted and tells some unpredictable revelations. Twisted and unpredictable are good until the sudden plot twist comes along. It shifts from dangerous to ridiculous. Well, mind bending films are best when it makes no sense at first then it lets you try to put the pieces together afterwards, but the random involvement of one character to the core conflict of the story is somehow exasperating.

There is no denying that the performance are great. James McAvoy finely balances his character's fear, rage, and charisma. Rosario Dawson is graceful enough for a hypnotherapist. One of the best here is Vincent Cassel. His character is generally suppose to be unlikeable but Cassel manages to be terrifying and so much fun to watch.

We may complain about its weaker parts but it's still extremely entertaining. To be honest, this is probably Danny Boyle's snazziest film he has ever made so far. Though, there are better Boyle films out there, this one seems to be more energetic, and smartly shot and edited. His sense of style brings camp and surrealism that feels like you're in a perfect zone of trance. There are sequences that are simply magnificent which makes you just want to look around the exteriors, like a piece of art. The music score and soundtrack fits through the fanciness of the film.

Trance embraces the point of being mind bending. It plays with your mind enough which is already a remarkable merit, it just could have been simpler in the end. The twist indeed affects a lot to what it was set up, but the best parts still took over the experience. The film's awesome craft and trippy effects immediately spellbind the viewers. It would have been a classier fabulous thriller. It's difficult to forgive its far-fetched conclusion, but again it is a snazzy piece of manic art by Danny Boyle that is definitely a cinematic joy.