Trance (I) (2013) User Reviews (261)

a visual & auditory feast

[jukangliwayway · 6/10 · 17 July 2013]

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?"

sort of a suspense film turned horror

[blanche-2 · 6/10 · 13 July 2014]

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.

Boyle Sending Audiences Into A Trance

[gregwetherall · 7/10 · 26 March 2013]

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.

Aims for complexity but is unnecessarily confusing – end result isn't "oh wow" but "oh for f's sake"

[bob the moo · 20 November 2013]

I was quite looking forward to Trance; I had heard a critic say that it was a real effort by Danny Boyle to get out from under the "national treasure" status he had obtained by how well he opened the Olympics in 2012 and that as a result Trance was very much against that image. He was correct because this is a very graphic film in many ways but before that we get to the plot. The plot is simple – an art robbery goes wrong for some reason, with the painting lost when the inside man hides it but forgets where he hid it due to damage inflicted during the robbery. The gang go to a hypnotherapist to try to get it out of him and from here it only gets messy.

I can see what the plot was trying to do because it is constantly twisting and turning as minds are messed with; actions may or may not be programmed; events may or may not be happening and those who appear in control may or may not actually be in control and, even if they are (or aren't), they soon won't be (or will be) because everything will change in a minute. I guess the aim is that the film was aiming for a narrative similar to that of Inception or Usual Suspects, where the story the audience is being told may not be the real story at all. At the end of both these films the effect is to be impressed by how well it did it and I'm sure for many like myself there was the desire to watch it again to be able to see the film in the new context you have. With Trance I did not have this feeling, when things did fall into place I only felt that it was such a messy pile that it had fallen into and I had not enjoyed or been engaged in the manner in which it got there or indeed where it got me at all. You can sense it wants to be smarter and more thrilling that it is, but where Usual Suspects is slick and stylish on its journey, this really just bumbles and blasts it way to the finish hoping it can carry you with it by force alone.

This force comes in the style of Boyle's direction and mostly it is good from this point of view – it is a good looking film but it does really feel like he is forcing the excess for the sake of it rather than it being part of the film. So the very extreme scenes of gore felt like the complexity of the story – there for the sake of being there. Of course this is not to say that I didn't appreciate the extreme (almost "no holds barred") nudity from Rosario Dawson, but again even for the teenage boy in my head, it felt forced and unnatural (the use of her nude – not her as a nude). The cast go along with it the best they can. McAvoy is good while Cassel always has a mean presence. Support cast is decent but I am really not sure about Dawson. It is not that she herself is not good, it is just that the film asks too much of her character and it is clear that Dawson doesn't always know who she is be – in any one scene she can be what is required, but in terms of making it one whole character or making links between these scenes, she cannot do it. I do not think the fault is all her – I guess the relationship with Boyle didn't help with this aspect, but for sure her performance seems unsure and a bit erratic.

Trance will try to bluster and bully you into thinking you're watching something really smart and well structured, but this is not the case. The film is confusing for the sake of it, excessive for the sake of it and ultimately tries to ride this to a satisfying conclusion but in the end you will not be left with feeling that you immediately want to see it again but rather the lingering doubt as to whether you should have bothered in the first place.

It has a heavy change in rhythm!!

[heavenkey · 6/10 · 5 August 2013]

About this movie I could say that the story was brilliant. Also, there was a good effort to make the movie complex and confusing which is good for a "Trance" film. I think one feeling that is mutual among majority of 'Trance' viewers would be the last 40 minutes of the movie which in it there is a huge change in movie's rhythm and also extreme sexual scenes after a mellow and pacific beginning that is very surprising and in my opinion unnecessary and exorbitance. After all there are some slight points that need to be mentioned often as positive points of the film: Shotgun stroke in the face which is in fact very painful and also it can causes heavy brain damage and it has been observed correctly. Also, the effect of the parking guard reaction on the viewer and making the audience to think what role he is playing in the resumption and being none (notion: every single person could have an effect).

A Hypnotic Mess

[Theo Robertson · 7/10 · 28 March 2013]

During an armed robbery at an art gallery Simon Masterson in knocked unconscious and suffers from amnesia where a £25 million painting is stolen . As it transpires Simon was the inside man on the job and he's forgotten where he's stashed the painting and the gang aren't in any mood to let Simon's amnesia foil their criminal dividends . Simon undergoes hypnosis with a beautiful female therapist in order to regain his memory knowing if he fails the art thieves he's involved with will have no further use of him

I had high hopes for TRANCE as soon as it was announced . Danny Boyle stole the show at the Olympics with his opening and closing ceremonies the screenplay is written Joe Ahearne who was the main director of the all too short era of Christopher Eccleston's DOCTOR WHO and like Boyle can work visual miracles on a limited budget which leaves me puzzled why Boyle and Ahearne haven't relocated to Hollywood but I very much appreciate both film makers have stayed in Britain and are involved in British film making . That said when ever I look forward to a Boyle movie I'm always left with after I've seen it with a slight feeling of disappointment and wonder if his undisputed masterwork is around the corner

TRANCE get off to a great opening and is similar to his earlier work in travelling through the metaphysical psyche of a character very much like the audience see in to the mind of Renton in TRAINSPOTTING . The opening sequences of the movie as the language of cinema are used to a breathtaking effect as Simon breaks down the fourth figurative wall of cinema . The whole look of the movie is hypnotic as a combination of cinematography , editing and the in your face blasting soundtrack grips you harder than one of the infected from 28 DAYS LATER

The much voiced criticism of Danny Boyle is that he can't sustain the second half of a movie . With the exception of 28 DAYS LATER and SUNSHINE it's not something I've really noticed and when I have noticed it it's obviously been the fault of screenwriter Alex Garland rather than Boyle and the director manages to keep up the visual assault on the audience but the more the film continues the more spanners are thrown in the works and these are down to Ahearne and fellow writer John Hodge

This movie belongs in the sub-genre with the likes of TOTAL RECALL , THE MATRIX , MEMENTO and INCEPTION that use the theme of altered reality to tell a story . Several times you think the narrative plot turns are cheating the intrigued compelled audience but then you have a character explaining the twist and the audience gasp that they're not victims of contrivance or cheating . However the more the story continues the more and more you realise the characters are spouting the mechanics of the plot which is a mistake . Add to this by the final third the characters are still spouting exposition but by then you're relatively lost as to what's happening , only to have the protagonist behind the set up once again go in to a long monologue what their agenda has been . On top of that none of the characters are likable in any way and when the least hateful character in a film is played by Vincent Cassel something has gone wrong somewhere

In summary TRANCE lives up to the old cliché that " If a film is good it's down to the director and when it's bad it's down to the screenplay " and this is a movie that lives up to that well worn adage . Certainly it's enjoyable and even someone like myself who is against petite bourgeois nationalism feels a surge of jingoistic patriotic pride when a film stamped with Made In Britain tries to be a mainstream success . Unfortunately one suspects this won't be the international success SLUMDOG MILLIONAIRE was due to it being far too clever for it's own good

A Potpourri of Vestiges Review: Danny Boyle's racy crime thriller with a psychological bent

[murtaza_mma · 7/10 · 21 September 2013]

The latest film from the Oscar-winning English filmmaker Danny Boyle is a racy crime thriller with a psychological bent. The movie revolves around the life of a debonair art auctioneer, Simon, who inexplicably gets mixed up with a group of ferocious criminals.

The criminals reluctantly partners with a sensual hypnotherapist whose job is to dig deep into Simon's mind and find out the whereabouts of a lost painting. Trance plays with the subconscious memory in the vein of movies like Inception and Shutter Island, but somewhat falls short of attaining the same level of brilliance.

Trance stars James McAvoy, Vincent Cassel and Rosario Dawson in major roles. While McAvoy delivers his best performance ever, Dawson is a treat for the sore eyes. While Cassel is solid as usual, film aficionados just can't help but expect more from the veteran French actor.

Boyle's direction is topnotch and barring a few glitches the movie manages to deliver a powerful punch. The movie is quite high on eroticism and nudity but none of it appears to be extraneous. A must watch for the lovers of the genre!

For more, please visit my film blogsite:

http://www.apotpourriofvestiges.com/

Boyle's "Inception" Without the Special Effects

[3xHCCH · 8/10 · 4 May 2013]

An art auctioneer suffers amnesia when a robbery of a Goya masterpiece went wrong. A hypnotherapist was recruited to jog the memory out of him. Thus begins the multi-layered puzzle that is "Trance". I could not say more about the story as this remains for you to watch the unfolding of each scene that complicates the one before it.

Danny Boyle was very much in the news in the past few years because of his "Slumdog Millionaire" as well as his London Olympics gig. Now he returns to the big screen directing this Rubik's cube of a film, and that itself makes this film an event to witness.

James McAvoy plays Simon, the art auctioneer with a huge gambling debt caught in a bigger web, with the necessary cluelessness and helplessness. In fact, I could imagine Boyle's "trainspotting" discovery Ewan McGregor in this role had it been done ten years ago.

Rosario Dawson lends her exotic appeal as hypnotherapist Elizabeth Lamb. It was her character that provides this film that complex structure which would keep the audience wondering which is reality and which is just a trance. She was credible, treading that delicate balance between good and bad, realistically keeping the two other male characters guessing at her real intentions. Her brave moment of frontal nudity was key to how the story turns, not gratuitous.

Vincent Cassel plays Franck, the ruthless mastermind of the art heist. His character would have been a one-dimensional bad guy in a lesser actor's hands. Here Cassel gives Franck another level of what seems to be vulnerability, or then again, maybe not.

Fans of film noir, of films that make you think, will enjoy "Trance". I am sure many fans of this film will watch it again to try and get it the second or third time around. Boyle has given us "Inception" without the grand special effects. So good. Must-watch.

If you're a Boyle fan lower your expectations a little.

[Buscatcher · 7/10 · 29 March 2013]

James Mcavoy is back on form after the dismal Welcome To The Punch. He is Simon who works for a fine art auction house, where one of his duties is to whisk away to a deep vault the most valuable artwork in the event of any attempted robbery. Of course their is a robbery, masterminded by Franck played by Vincent Cassels, the only problem is he has stolen a picture frame but no canvas. Simon is hit on the head during the robbery causing amnesia and cannot remember what happened to the canvas. Franck isn't too chuffed about this so employs Elizabeth - Rosario Dawson a hypnotist to delve into Simon's mind to find where he may have secreted the artwork.

For at least the first half I was gripped by the plot and characters plus Boyles camera work is spot on as always. I did however feel completely puzzled at one point when the plot seemed to zig-zag a bit too much and I began to wonder whether I had lost concentration. I wasn't being dim however because at this point one of the characters explains (in flashback) what's going on.

Although an adequate enough watch this was for me a below par Boyle movie. But I suppose with a back catalogue including two of my top ten films he can be excused for not 'hitting a coconut every time'. Overall I was not disappointed to have caught the bus to view this and neither should you be. If you are a Boyle fan just lower your expectations a little.

The most versatile director in the industry...

[CharlieGreenCG · 8/10 · 12 April 2013]

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.

Read this review and many more at our website - Gone With The Movies

http://gonewiththemovies.com/reviews/trance-review.php#.UWhc_LU3uSo

Trance. Not Transcendent.

[BharatSamra · 7/10 · 28 March 2013]

Danny Boyle's Trance certainly is a hypnotic 101 minute therapy session that leaves you feeling you received the treatment you paid for, though it is not a transcendent masterpiece and many may have been hoping for more. Providing a synopsis here would simply be unnecessary regurgitation of the trailer's concise expression of the film's premise. What we receive in the end is near enough what the trailer delivered, with some unwelcome changes in direction that caused the final product to be vaguely unlike what you ordered as it had the potential to be of greater quality.

From the establishing shot, we enter Boyle's trance, which is so mesmerising that for the initial third of the film, someone could be throwing popcorn at your face and you probably would fail to notice. Unfortunately however, from this point in the film onwards, we begin to fall in and out of this state of cinematic hypnosis, which is essentially your own battle between liking and disliking the film. This basically results in the effectiveness of the experience diluting. After a fantastic and intriguing opening that stays loyal to everything that one could have possibly assumed about the film, it diverts into what I find most despicable about any motion picture narrative: its focus shifts to be all about romance, while trying to clutch onto what literal and figurative artistic integrity that it still has. Trance both languishes and prospers into the grasp of a predictable, inevitable and certainly disappointing descent into a story about love that conflicts an already complex relationship between the film's three primary characters (played by James McAvoy, Rosario Dawson and Vincent Cassel).

A much appreciated relief at the film's climax is that Boyle concludes his power over the audience in the way that he began: in an entranced state. Perhaps the simplest way to describe one's structural enjoyment of Trance (that is, how we go back and forth in liking the film) is to compare it to a sandwich. With two delicious layers of bread to just about maintain the overflowing filling, the start and finish to Trance certainly make up for some tasteless and unwanted revelations in the middle. Boyle's steady hands manage to leave you more than satisfied at the last bite, and the pacing and length of the film are perfect. It is also worth crediting the sound department for their excellent ability to consistently explore the hypnotic tone that is needed and adored for a film that explores the mind.

Trance is an effortlessly watchable and often therapeutic experience that is undoubtedly worth a chance. Some will probably adore its attempts at narrative complexities and more often than not, solid execution at achieving its objectives. Meanwhile, others may find the fairly unnecessary sexual and romantic themes to be the demise but not the surprise in Danny Boyle's latest cinematic endeavour. Whatever the consensus (or lack of), Trance most indisputably remains devoted to encapsulating everything that its title suggests, though the manner and extent to which we are convinced by the film, enjoy the film or even will remember the film is questionable.

My scrutiny for Trance may appear to be more negative than my actual quite positive stance. The main issue is that I wanted the film to be so much better, as it had such extraordinary potential to be a magnificent thriller, but the execution at particular moments simply digresses from the greatness that other parts of the film exhibit. Trance hovers between all of Boyle's other films (that I have seen at least) as it demonstrates an enormous amount of ingenuity, though unfortunately gets caught up in the web of romantic deceit, which is the unwelcome revelation and eventual destination of the film.

You're getting sleepy . NOT! Or my review of Trance ****

[davidcoverman · 8/10 · 18 June 2013]

After my review of several of the summer blockbusters with their falling skyscrapers, mega explosions, burning barges, and exploding spaceships, and all that burning smoking destruction, Trance was almost literally a breath of fresh air.(Okay there was some tear gas and a burning car at the end of this movie but you get the point….) And speaking of SciFi... although there is one element that borders on science fiction I won't reveal the twist here as it really doesn't take away from the enjoyment of the film in the slightest.

I suppose you could say the movie is slightly formulaic but it's formulaic as a heist movie, as a gangster film, as a psychological thriller, as a film noir mystery romance. It's the blend of all these in a masterful interweaving of genres that makes Danny Boyle such a master film maker.

From his beginnings with his morbid masterpiece of Hitckcockian tale of normal people in situations that spiral out of control in Shallow Grave, to the hyper reality of Trainspotting and it's excellent music soundtrack that also blended genres., Boyle has shown a deft hand at mixing things up, telling extremely engaging stories. He attempts genres and makes them his own like no one has since Kubrick. And while unlike Kubrick greatest movie 2001: A Space Odyssey, Boyle's science fiction movie Sunshine is the only genre, that in my opinion, was his only less than success. Things like his Zombie movie 28 Days Later... or his Bollywood movie Slumdog Millionaire are some of my all time favorite movies.

And while Trance is a scaled back movie in every sense, an extremely British movie with relatively unknown cast, all his skills are evident. And when I say British I mean British…. It's one of those that even though they are speaking English, subtitles would have helped immensely. But having said that I must say that "unknown" cast is exquisite, with a bit of IMDb.com research I was able to find things like the lead character James McAvoy was the main guy against Forest Whitaker's Idi Amin in the excellent The Last King of Scotland, or the main gangster type guy Vincent Cassel has been the baddie in many films including the 'baddie' director explaining the seduction of and his own seducing of Swan Lake in The Black Swan, and Rosario Dawson I remember from Quentin Tarantino's Grindhouse "Death Proof" segment, or one of the femme fatales in Sin City. So this trilogy of excellent bit actors in the hands of a master pull off the most engaging, mind twisting, bizarre love triangles in film history. As I mentioned before the juggling of genres start off with the excellence tension of a heist movie, and as it enters the psychological thriller, what happens after the heist is revisited in jumbled flashbacks as McAvoy's character receives a head injury and can't remember what happened. He visits a therapist specializing in hypnotherapy to help in remembering and quickly she's entangled in the what happened to the stolen painting, and of course there's the film noir elements of who's playing who.

I even liked how the film as it's title suggests hypnotically takes you into the art world, particularly the world of stolen paintings. I had fun researching the stolen paintings it mentions like Rembrandt's "The Storm on the Sea of Galilee". But the labyrinth of revealing what was locked inside the main character's mind is all done in a hypnotic style, with mind-bending twist of dreams with-in dreams etc.. . but also in the romantic entanglement that has you wondering who has the upper hand as guards are let down and weaknesses exposed and in one of the movie's not so obvious twists, is the fact you actually begin to like the bad guy? In particular, I had to track down the excellent song "Sandman" by Kirsty McGee as it's dreamy lilting melody perfectly underscores that feeling not quite being in control in a dream yet not caring and enjoying that floating feeling.

As I mentioned before there is some suspension of disbelief, and some major plots holes that may cause the story to fall apart if examined too closely and a more discerning skeptic might find major fault under that close of an examination, and it's does knock off a star value for me for sure. But I found the trip through this mind maze and romantic entanglement to be most enjoyable.

Unpredictable but a bit overkill with the "powers"

[precont · 7/10 · 8 September 2013]

I like this movie, especially because its very unpredictable. Though the "powers" of the woman is a bit too much and it gets little bit to complicated. Rosarios acting is very good, impressive. Also James is doing a good job. Some of the bad guys is not that talented actors. Vincent is often playing the same character in every movie he is in. Anyways I strongly recommend this movie, it is really exciting in the end and you don't really know what to believe and who is the bad guy. When you get the real aha-moment and get all the pieces together, which you get very quick in the end, you will much likely get goose-bumps. But the sad thing is that if you watch it twice it will probably not be at all entertaining, not the story anyways. Enjoy this fine piece of art!

More frustrating than satisfying

[cricketbat · 4/10 · 21 September 2018]

Trance is disappointing. This movie jumps back and forth between reality and hallucinations so much that you eventually stop caring about what happens to the characters. And when the movie finally does explain what's going on, it's more frustrating than satisfying. Danny Boyle is one of my favorite directors, but this is far from his best work.

No, you won't guess this one, unless you're psychic

[JohnRayPeterson · 7/10 · 22 July 2013]

Art auctioneer Simon, played by James McAvoy is involved, deeply, in the heist of a multi-million dollar painting. It takes a while to get to the reason of his involvement, but that bit is the easiest you'll have to contend with. At the risk of spoiling some of the plot, I'll go ahead and let you in on the part where he intended to double-cross a gang of thieves, and in so doing he gets hit in the head trying, successfully, to prevent his cohorts, the thieves in question, from finding out too soon. The head injury, and perhaps getting hit by a car as he was getting away, landed him in the hospital with, you guessed it, lost memory; where he hid the painting is of course now the mystery, or is it? His partners in crime were none too appreciative of his treachery and so spare little efforts to shake that memory loose; the leader of the gang, Franck, played by Vincent Cassel, was resourceful, to say the least, in how he went about that, but nothing worked, until he figures that hypnotherapy might just be the solution.

Then the plot thickens, quite a bit, because the therapist Elizabeth, played by the stunning Rosario Dawson, is a character, a most fascinating one, whose depth, cunning and determination has no equal, not even for the likes of Frank and his gang. She and Simon have history; but to discover that history is the whole adventure. Hypnosis is suggestion and who is subjected to it but the audience. It does get messy at times, unless you keep in mind that characters, well Simon at least, are in a trance, subconscious in nature.

You'll wonder if Elizabeth is not the mastermind; she might, I won't say. That is one of the reasons I liked this movie, the twists and turns. McAvoy and Cassel are performing just like you would expect actors of their calibre would; as for Dawson, well she impressed me something like Halle Berry did in the movie Monster's Ball. If you have a limited attention span or if you like your thrillers less messy, this movie is not for you. The usually friendly McAvoy character is, as it turns out not a nice guy, and the opposite holds true for Cassel, and that was refreshing. You will likely use the rewind button with Rosario Dawson; I won't believe you if you say you didn't.

Walking on thin ice, but as engaging as can be

[tomassparups · 7/10 · 18 July 2013]

Danny Boyle's new film "Trance" is a mystery, thriller and suspense film that stars James McAvoy, Vincent Cassel and Rosario Dawson. As the film begins we are introduced to Simon (James McAvoy), a fine art auctioneer who teams up with a group of criminals, led by a man named Franck (Vincent Cassel) to steal a valuable painting worth millions of dollars. While the robbery ensues, Simon suffers a blow to the head. As he regains consciousness, he realizes he has no memory of where he hid the painting. Franck is determined to find the painting. He starts by torturing and interrogating Simon who does not remember anything about the incident. After the interrogation proves to be fruitless, Franck decides to send Simon to a hypnotherapist named Elisabeth Lamb (Rosario Dawson), in hopes of finding an answer. Elisabeth begins to delve into Simon's mind and as she slowly begins to recover his lost memories she realizes there is more to her new patient than what meets the eye.

Danny Boyle's stylistic direction greatly benefits the film. The beautiful cinematography not only adds to the somewhat sterile atmosphere of the film, but also makes the film visually stunning. The sound design is shockingly effective, whenever a gun goes off or an object is broken the sounds feel extremely piercing. On a technical level the film is very well rounded and is topped off with a great electronic score.

The actors play their roles very well. The standouts have to be James McAvoy and Vincent Cassel. Even though Rosario Dawson delivers a great performance she has to be the weak link out of the three. The main issue with "Trance" is that the story seems to be walking on thin ice at times and has a few plot holes that seep through the whole story. It was very hard for me to distinguish reality from imagination while watching this film, which can both be of benefit and at the same time be rather off-putting to the viewer.

Looking back at the film after seeing it just a few hours ago it may be hard to come to a definitive conclusion on my opinion, but i will say that overall, "Trance" is a entertaining and innovative mystery that is boasted by great performances and beautiful cinematography.

Heist Flick With A Twist

[AudioFileZ · 7/10 · 28 July 2013]

Certainly the heist movie is a staple for film. The usual involves money, jewels, art, or a combination. As film has progressed the stories involved seem to get more elaborate…and, stretch credibility. Style over substance, if you will. It may be what movie-goers want – action and high-tech trickery usually equal a crime caper that scores at the box-office. Still, the cerebral, more realistic, heist movie begs to continually be revisited, if modernized.

Trance seeks to weave a more simple and believable, greatly thought-out and orchestrated, heist gone wrong saga. Celebrated director Danny Boyle (Slumdog Millionaire among others) gives his vision the less glitzy (i.e. grittier) atmosphere on which to build believability. Casting James McAvoy as the protagonist is in keeping with that view as he is a versatile dramatic lead with believability and bank ability, not to mention he's quite a talent.

An esteemed auction house in the midst of the sale of a super rare and expensive painting provides the crime scene. But first we are introduced to McElvoy's character, Simon, who as part of the auction house's security is responsible for removal, if possible without risk to life, of whatever valuable object is being sold. As expected an orchestrated heist ensues. Simon does his job, with a slight glitch in which he uses a stun-gun to momentarily incapacitate the robber, Franck, played by the very ominously excellent Vincent Cassel. It appears, when Franck recovers, that Simon's move to save the day was misplaced and his life is spared by, perhaps, only Franck's desire to not have blood on his hands. Franck knocks Simon out which later, in the hospital recovering, Simon is celebrated as a "would-be" hero in spite of the great loss. Oh yeah, when Franck opens the case the painting, "Witches In The Air", should be in the frame is empty.

So far, this is by the book as far as these things go, but that will change. Simon comes home to a "tossed" condo and is in trouble with the would-be robbers. He can save a lot of trouble by telling Franck where he hid the painting. One major obstacle here is Simon is suffering from amnesia. If he did hide the painting he has now hidden it from himself too. Some creative writing follows which at a few critical points may stretch the otherwise dark realism for some. If you're "on-board" however you choose to revel in the quite complicated story and see it through. It is a true different "twist" on this type of thing – while it may stumble somewhat it doesn't give itself up early-on at all and has an unexpected resolution which may, or may not, be satisfying to all. In the end it is worth watching, however, as taking the other fork in the road to a genre that is somewhat hackneyed keeps one invested. Trance is not as good as the best this director is capable of, though quite interesting, is obvious.

What the hell have I just watched?

[tr91 · 8/10 · 29 July 2013]

This has got to be the most confusing film I have ever seen, and yes, I have seen Inception. I only came across this film because it starred James McAvoy, it sounded interesting so I decided to give it a go.

The film starts off straight in the action and is one of them films where you are completely hooked from the start to the finish, even though you're not completely sure what is going on. It got to the point where I didn't know if certain scenes were the present day or flashbacks, truths or lies, I just didn't know, but my God it was gripping. There was also some pretty grim scenes in this film.

In the end it did make more sense but you really have to think about it. I would highly recommend this film to anyone, although I think it may take more than one viewing to really appreciate how good this is.

8/10

Snazzier Art

[billygoat1071 · 7/10 · 2 May 2013]

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.

But no piece of art is worth a human life...

[hitchcockthelegend · 9/10 · 3 April 2013]

Trance is directed by Danny Boyle and adapted to screenplay by John Hodge from Joe Ahearne's film of the same name from 2001. It stars James McAvoy, Vincent Cassel and Rosario Dawson. Music is scored by Rick Smith and cinematography is by Anthony Dod Mantle.

Art auctioneer worker Simon (McAvoy) does the double-cross on Franck (Cassel), his partner in an art heist, but after taking a blow to the head suffers amnesia and can't recall where he has hidden a stolen Goya masterpiece. Franck and his thug side-kicks decide to send Simon to hypnotherapist Elizabeth (Dawson) in the hope of unlocking the painting's hiding place. However, once the therapy starts, secrets come tumbling out and nothing is ever as it at first seems.

Already this early in the day after the film's release, we know for certain that Danny Boyle's foray into neo-noir is going to split his fan base considerably. Admired for his ability to turn his hand at any genre he fancies, Boyle reaches back to his earlier movies and comes up with a mind bending neo-noir that crackles with the kind of sexual edginess that Paul Verhoeven thrived upon. It sounds snobbish I know, and I have been called a neo-noir snob recently, but if all things noir are not your thing then this really is a film you should stay away from. Think Basic Instinct meets Inception and they take out a 40s Heist movie for drinks and you get an idea where we are at with Trance.

All the hallmarks of noir, both neo and conventional classics, are evident here, from characterisations to visual smarts, it's a noir head's dream and very much a must see on the big screen or on Blu-ray formats. Forget any notion of having someone to root for in this, there is scarcely a decent human bone on show. Characters are either fuelled by greed, lust, jealousy or vengeance, or quite simply just not smart enough to operate in the circles they move in. Amnesia is a key component of the story, something which again features a lot in olde noir, as does the central character being a complete dupe...To expand upon more would be stupid of me, the less you know the better it actually is upon first viewing. It really is a difficult film to discuss without delving into why it is such a trippy and deliciously cheeky piece of film. That's not to say that narratively it's smarter than a brain pie, because that's not the case. For as the threads untangle, several times, the mind meld aspect will fall apart if plot dissection is your thing? Also cramming so much "brain food" into the last quarter of film kind of feels like too much, overkill if you will. While Franck's side-kick bad boys are irritatingly disposable. Yet it's a film that begs to be seen more than once, twice, thrice even...

Visually it's superlative, it's clear that Boyle and Mantle know and admire noir's visual splendours, with an awareness of atmospheric importance (noir is an atmosphere, not a genre. There's the snob in me again!) pulsing throughout. Set in London but filmed out of Dungeness in Kent, the backdrop is a city of steel and mirrors, a thriving city of wealth and mistrust. The tricks of the trade are here but never once is it style over substance, the visual ticks matter to the narrative. Night time overhead shots of a bustling city come and go, different colour tones for different character's apartments are clever, oblique camera angles ensure distortion of frame is equal to distortion of antagonists/protagonists minds (whose trance is this, really?...). Smudgey silhouettes through bronze glass, outrageous POV shots and caressing camera shots of the human form, no shot is wasted in the name of adding detail. Rest assured, Boyle brings his "A" game here. All of which is covered over by Smith's slow rumbling score that acts as a foreboding observer ready to unleash itself when the carnage begins.

The three principal actors come out firing and clearly are enjoying themselves. McAvoy cements his "A" list credentials with a multi layered performance, Cassel is as usual a mighty presence and Dawson, in a bold role, does her best work so far and hints she's ready to move into the big league. While it has to be noted that all three actors have to play their cards very close to their chests throughout; and do so admirably. Boyle's action construction is kinetic, with the pre-credits sequence one of the best opening sequences lately, and Hodge's script has a playfulness about it that ensures those paying attention know the film is self-mocking and not taking itself half as seriously as some film fans seem to think. An audience splitter it is sure to be, but for those with a bent for noirish sexy mind bending heist capers? Get in there! 9/10

Boyle succumbs here to a thin story, some awkward editing, and lack of magic

[secondtake · 6/10 · 14 October 2013]

Trance (2013)

What starts as a fascinating combination of heist film and psychological free-for-all ends up being hampered by clarity of purpose and a general motivation we care about as viewers. The characters don't fully operate by what you'd call normal logic--all the contrivances of their actions only compound a contrived plot.

The intentions are big and fascinating. Some of the big reality shifts of recent movies from "The Eternal Sunshine of the Spotless Mind" to "Inception" and "Shutter Island" are brought down to a smaller level here. The title implies the trance of hypnosis, and so a hypnotist is central (the only woman of note in the movie, the American actress Rosario Dawson). And she has the ability it seems to hypnotize people in a few seconds without their even (necessarily) being willing or aware.

In these trance states, which the camera and narrative flow enters without warning we are made to see alternate realities which we can't always sort out until later. Knowing what's really going on is a welcome challenge in a way because you get absorbed in the process of figuring it out. Even if you can't quite keep up with the director's whims. The trance worlds are also manipulative and playing to a male audience too much for me (the rest of the cast is male, as is the director, photographer, writer, etc. etc.).

And so am I. But the point is the movie bogs down and shifts from one main theme (a stolen painting and money and greed) to another (the sexual fantasies of several of the men involved in the heist). Do we care? Well, we aren't made to care, or even understand the impulses very well. So the movie loses its way, and loses this viewer for one.

I had high hopes for this new Danny Boyle movie, especially after "Trainspotting" which this seemed to have some relationship to. And there are some flights of imagination and beautiful set designs to keep it afloat. It's a cinematically jarring movie, which is part of the point, and I like that, though it might have used some of the fluidity of "Trainspotting" and "Slumdog Millionaire" to keep the pieces sensible. I blame here the director perhaps but not the cinematographer who has shot some terrific alternative big films (including "Slumdog"). The editor, who has a short list of films, is the most clearly culpable cog, showing how brutal movie-making can be with so many key contributors.

See it? Oh, if this is your kind of genre go ahead, it's decent. But it's not a great film, and not a great Boyle film.

A bendy mind twister

[rivertam26 · 8/10 · 16 April 2013]

Danny Boyle's films are a mixed bag. On the one hand you have amazing efforts such as 28 Days later and Trainspotting and on the other you have Shallow Grave and the Beach. He's never made a bad film in my opinion and they are always interesting even if they feel a bit convoluted or gimmicky. On his best days his films can feel whimsical and transcendent like Millions and A Life Less Ordinary and than sometimes they can feel a little to Oscar baity like 127 hours and slumdog millionaire. Trance falls nicely in line with these films and towards the top I might add. At the center of the film is a ho hum concept about a somewhat successful heist and the twistiness that surrounds it. The films overall effect relies on your acceptance on the believability of Hynopsis but in the end it's a beautifully crafted ride. Stocked with truly memorable visuals and some truly wonderful cinematography. From the creative lighting and color combinations to the inspired use of shadows and reflections, it is truly something to behold. Speaking of something to behold I must give credit where it is due and although james McAvoy's nude scene is impressive Rosario Dawson just blows him away in that department. Who knew she had such an amazing body it truly needs to be seen to be believed. Now all of that being said on the downside the film makes some big promises that any film would have a problem living up to. At times it comes across way more complex and intelligent that it ends up being. But like his earlier works Trance is a solid, memorable techno thriller that works as a bendy mind twister that mostly delivers. 4/5

The Mind is a Terrible Thing to Waste

[jadepietro · 6/10 · 17 April 2013]

This film is mildly recommended.

Everybody loves a good mystery. Unraveling the clues. Figuring out those mind games. Sorting out the suspects. Catching the culprit. Solving it all. And Trance, the latest crime thriller by Danny Boyle, tries desperately to be that.

But a problem usually arises when creating that good mystery. The viewer is lured into the web of intrigue with its unending possibilities, interesting characters, and a dense plot that keeps one guessing the outcome. However, when some of the rules of the game defy logical sense and only style camouflages the plots and twists, all that's left is an unsatisfying thriller that piles one contrived situation upon the next. And that is what Trance cannot avoid.

The film begins promisingly enough with an art heist caper involving a missing Goya. Caught in this mystery are the film's three main characters: Simon ( James McAvoy ), an auction house auctioneer who loses the painting during the robbery, Franck ( Vincent Cassel ), a sinister gang leader who wants that expensive painting, and Elizabeth ( Rosario Dawson ), an attractive hypnotherapist whose services are called upon to help Simon remember the whereabouts of the artwork. To say anymore could spoil the film, but this is, after all, Film Noir territory and the double crosses ( or triple crosses ) are par for the course.

Written by Joe Ahearne and John Hodge, Trance holds one interest during most of the film, but by the film's end, all the exposition and dark twists become more annoying than fulfilling. The script doesn't delve into the mechanics of the crime and would rather deal with the psychological mumbo-jumbo of hypnosis, unlocking the enigmas of the mind to solve its mystery, ala Hitchcock's Spellbound and its overwrought ode to psychotherapy. It doesn't help that he film's constant blur between reality and illusion confuses rather than enlightens the story. Also, the characters are a bit one-dimensional and lacking any depth to truly engage most moviegoers, although McAvoy, Cassel, and Dawson do give it their all.

Still, Danny Boyle directs with his usual high intensity flair. The film is extremely well-made, but it is mostly a slick and empty exercise in filmmaking. The director keeps things moving at a clip with flashy editing techniques and artsy camera angles. Scenes are well staged and photographed by Boyle's loyal cinematographer, Anthony Dod Mantle ( Slumdog Millionaire, 127 Hours ). Their visual sleigh of hand is used masterfully to cover the film's defects.

In retrospect, after all is revealed, the real problem with Trance is in its script in which the actions and motives of these characters seem muddled and make very little sense, except to provide a visually exciting denouncement. Trance could have used some more rewriting sessions, and some additional therapy sessions too. GRADE: B-

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A disappointing example of technique in search of effect

[Likes_Ninjas90 · 5/10 · 14 April 2013]

Trance is an extremely convoluted film by director Danny Boyle, not necessarily because of the narrative structure but how the film is stylistically pronounced. There are audio-visual red herrings used to mask over the absurdity of a plot that switches from a heist movie to an internal psychodrama. However, once you overcome the deliberate sensory overload, the story and characters don't make enough sense to hold any emotional investment. Despite Boyle's experience and imprint as a deeply stylised filmmaker, Trance is a disappointing example of technique in search of effect.

The film starts off with humour and an energetic heist, but the story and the character motivations are extremely convoluted, buried deep beneath the (electronic) sound and fury. Simon (James McAvoy) is an auctioneer (or is he?) who describes the changing methods of stealing art over the years. It turns out that he is actually part of a job himself and in the chaos of a raid on an auction he snatches a Goya painting. As he escapes, he is hit over the head by crime figure Franck (Vincent Cassel).

Due to the blow on his noggin, Simon can't remember where he hid the painting. Franck tortures him for the location but this fails. Simon is then instructed to see Elizabeth (Rosario Dawson), a hypnotist who Franck and his men believe will be able to work his mind and reveal where the painting is. Simon must lie to Elizabeth about what he is actually trying to find.

Aside from the heist, there's very little here that's believable or clear. There's an early scene for example, where the thugs wire up Simon with a microphone and listen in on the sessions from their car, which doesn't ring true. One of the major problems with the film's plotting is that there is little time establishing who the characters are. The screenplay by Joe Ahearne and John Hodge is hesitant to revealing the inner life of the main players only so that they can withhold a huge plot twist at the end. It's not a gamble that pays off because the 'gotcha' moment feels more like a conventional thriller twist rather than a psychological insight into Simon's character.

Failing to establish the characters properly weakens their credibility and motives and makes them seem more like plot devices existing in a vacuum instead of real people. You will be wondering why Elizabeth strives so persistently to help Simon and when those answers are revealed late in the film they're improbable and unsatisfying. The narrative twist will remind you a lot of Inception, which Trance draws heavily from in the way it plays with memories, but it is without the same clarity or the emotional investment, failing to earn its story turns from the start.

Realising the generic hide and reveal structure of the narrative, Danny Boyle has employed an aesthetic resembling a music video to disorientate the viewers. I was impressed with the bravery of his formal choices in 127 Hours (2010) but it's like he's forgotten how to be calculating as a filmmaker. The stylistic choices he makes either lack purpose or overstate the theme. Camera angles are frequently tilted sideways and a neon lit colour scheme is employed to remind us tiredly of Simon's confusion. The blaring electronic soundtrack also raged so loudly and needlessly that I stuck my fingers in my ears at one point.

If these superficial techniques weren't distracting enough, the film also tries its hand at melding the real and the fantastic together in overlapping scenes, so that we're not sure if we're in a dream or not. The film becomes very messy, super violent, and not much fun. I found it so confusing that it took me out of the story and I didn't care one iota about the characters. If there is a point to their story, the film is about the way that people try to suppress trauma and personal responsibility in their minds. Yet for a movie striving to be psychological, it is the personal and human weight that is notably missing.

First rule of Trance is: You don't talk about Trance.

[TheSquiss · 27 March 2013]

First rule of Trance is: You don't talk about Trance. And that makes reviewing it difficult. It's too easy to give too much away. This is one of those films to consider avoiding the trailer and going in blind. Certainly don't talk to anyone about it first! My immediate thought as the final credits scrolled was "I need to see that again tomorrow!" It's tempting to say Trance is Danny Boyle's finest offering yet, but that would be a disservice to the brilliance of Trainspotting and 28 Days Later et al. It isn't going to hit the general populace in the way Slumdog Millionaire did, mostly because it isn't an 'easy' film they can sit back and be entertained by. Trance requires a great deal more thought and investment on the viewer's part to fully appreciate the experience than any of Boyle's previous films, but the rewards are great for those who make the effort. Simon (James McAvoy) is a good guy, if a little nerdish, who works at a major art auction house. When a gang aims to steal a £20 million painting, he endeavours to follow protocol by slipping the painting in the safe, but things don't go according to plan and the painting disappears. Gang leader Franck (Vincent Cassell) is far from joyous and opts to torture the information out of Simon. The trouble is, Simon is suffering a severe case of amnesia following a crack on the head by a wall. Then Franck hits upon the idea of recruiting a hypnotherapist to unlock Simon's memories and reality starts bending. Trance is a head spin, but that's the greatest attraction of it. If Inception ticked all your boxes this, though an entirely different subject matter, will be a ride you'll thoroughly enjoy. Forget Oscar-winning effects, Trance is stylish and absolutely engrossing without them, relying instead on good performances and a detailed, complex and absorbing screenplay. Ten years ago, Trance would have starred Ewan McGregor and often it feels as though Joe Ahearne and John Hodge have written with him once again in mind, but James McAvoy makes Simon his own and, yes, he does atone for his laziness in last week's Welcome to the Punch. McAvoy is on riveting form here as a character who seems at ease with his work and life only for confusion and panic to take over and then, as his mind is probed, something else entirely to emerge. Boyle has crafted some of the finest character evolution we've seen on the big screen for years, not only from McAvoy but from also Rosairo Dawson, in particular. Her hypnotherapist Elizabeth is beautifully performed; at first controlled and elegant but her subtle glances and facial twitches suggest a strength of character not to be messed with. Cassell is, as always, bang on the money as the crook with a brain and a stomach for aggression when required. He's one of 'those' actors who crops up in all manner of films and can always be relied upon to add gravitas and, occasionally, an air of menace that might steal the film from under the principals' noses, but neither the strength of their own performances nor the skill of the director allows that to derail this stunning feast for the brain cells. Though the focus is, naturally, on the trio of stars, the supporting actors in Trance are gifted parts and dialogue they can breath life into and many of them could easily take control of the scenario if the screenplay dictated. Danny Sapani (Nate), a TV stalwart of staples (The Bill) and gems (Misfits) alike lands a rare film role that must surely lead to a greater presence on the big screen and, though credited simply as 'Young Woman in Red Car', Tuppence Middleton seizes our attention with her brief moments in the limelight. With the lead in Trap for Cinderella in the can, two Pierce Brosnan films (Love Punch and A Long Way Down) slated for release later this year and currently shooting the Wachowski's Jupiter Ascending, Middleton is an actor to keep a close eye on. But no matter how good the actors, they cannot hope to save a film if the screenplay and direction have gone AWOL, W.E. being a recent case in point. In Trance they have the best possible opportunity to shine because Boyle is on fire here. He weaves his story around an intricate structure of rabbit holes and avenues that many people won't get, understand or cope with. So switch on your brain, absorb the music, open your eyes and start running with it. It's a hell of a ride and worth every effort. For more reviews from The Squiss, subscribe to my blog and like the Facebook page.