All About Movie: Trance

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Kamis, 13 Maret 2014

TRANCE (2013)

Tanggal Rilis : 27 March 2013 (UK)
Jenis Film : Crime | Drama | Mystery
Diperankan Oleh : James McAvoy, Vincent Cassel, Rosario Dawson

Ringkasan Cerita TRANCE (2013) :

A thieving art auctioneer seeks the help of an alluring hypnotherapist in order to repair his damaged memory and recover the treasured Goya painting that he stashed following a brazen heist in this kinetic thriller reteaming Oscar-winning Slumdog Millionaire director Danny Boyle with Trainspotting and Shallow Grave screenwriter John Hodge.

Adapted from the 2001 made-for-television feature by writer/director Joe Ahearne (who collaborated with Hodge on the screenplay), Trance finds prominent art auctioneer Simon (James McAvoy) dealing with brain damage after he teams with crime boss Franck (Vincent Cassel) to steal a Goya from an auction, then tries unsuccessfully to double-cross his fierce accomplice.

In response, Franck knocks Simon unconscious with a vicious blow to the skull, wiping out any memory concerning the whereabouts of the prized painting. When Simon claims to have no recollection of where he hid the stolen masterpiece, Franck and his crew grudgingly agree to let talented hypnotherapist Elizabeth (Rosario Dawson) try and pinpoint its location. Now, the deeper Elizabeth probes into Simon’s subconscious, the more complex the mystery seems to grow.

[IMDb rating : 7.2/10]
[Awards : 2 wins]
[Production Co : Pathé, Cloud Eight Films, Decibel Films]
[IMDb link : http://www.imdb.com/title/tt1924429]

[Quality : WEB-DL 720p]
[File Size : 600 MB]
[Format : Matroska >> mkv]
[Resolution : 1280x532]
[Source : 720p.WEB-DL.H264-PublicHD]
[Encoder : nItRo]

Download English Subtitle
Download Indonesian Subtitle

Selasa, 02 Juli 2013

Review: ‘Trance’

The problem with psychological thrillers is that they so often fail to appreciate the ways in which psychology is inherently thrilling, and how all thrillers are inherently psychological. To sidestep this problem by way of confronting it directly, a sub-genre of films naturally emerged in which psychology is not only used as a means of driving the plot, but also as its vehicle, exploring the mind by way of actually setting a film in one. This, naturally, is a demented challenge unto itself, as even those notable movies which were successfully able to conflate the inner-workings of the human brain with the demands of narrative storytelling (“Inception” and “Eternal Sunshine of the Spotless Mind” being the two most obvious examples from recent years), work because they expound upon how we feel by having fun with how we think, which is the opposite tact of most narrative fiction.

Unfortunately, when movies that literally delve into the folds of the human brain forget either part of the equation, they often prove that a mind is a terrible thing to waste, and it can be an even worse place to visit. With that in mind (lame pun pathetically intended), Danny Boyle’s “Trance” finds this strange sub-genre at its worst. An insufferable cross between “Inception” and the twisty heist noirs of Jean-Pierre Melville, “Trance” is a shapelessly propulsive mess of pop psychology and poor drama, as laughably pseudo-scientific as Hitchcock’s “Spellbound,” but with none of that film’s clear human charm.

“If memory serves,” is how the saying goes, and “Trance” is a movie about identifying its master. We begin with a Goya painting (“Witches in the Air,” to be precise), which will inevitably prove to be the height of the film’s artistry (talk about setting a needlessly high bar for yourself; it’s like Jay Leno using Richard Pryor as a warmup comic). Goya’s eerie imagery is a too-perfect fit for this muddled story of psychic manipulation, more evocatively articulating a haunted sense of suggestion in one still image than Boyle does in the 101 restless minutes that he has at his disposal. Perhaps, then, it’s appropriate that the “Witches in the Air” is stolen during the film’s overcomplicated opening sequence, in which a fine art auctioneer named Simon (James McAvoy, whose smarmy voiceover channels the horrors of “Wanted”), lays out the procedures by which he and his coworkers are to protect their enormously valuable paintings in the event of an attempted robbery.

Naturally, Simon’s auction house is promptly robbed. Franck (Vincent Cassel, and yes, it’s spelled “Franck”) and his merry gang of thugs bust in under cover of smoke grenades, and Simon immediately rolls up the canvas and tries to shove it down the emergency chute. Franck catches up with Simon at the last possible moment, conks him on the head with the butt of his giant shotgun and then makes off with the masterwork (valued at nearly $30 million). Except, we soon learn that Franck only thought he had the painting in his possession, and Simon – who’s in cahoots with the thieves – can’t remember where he hid it, on account of the fact that he was conked in the head with a giant shotgun.

Desperate to locate the information that he’s convinced still resides somewhere within Simon’s thick skull, Franck forces his stooge to visit Elizabeth Lamb (Rosario Dawson), the sexiest hypnotherapist in all of London, and perhaps the only person qualified to plumb the depths of Simon’s subconscious and retrieve the vital information. And that’s when things go off the rails of this narrative that’s ultimately as much about a painting as “The Maltese Falcon” is about a statue.

Elizabeth’s motives for becoming involved are as unclear as her techniques, and Boyle is so eager to play around in Simon’s mind that he fails to provide an adequate foundation for the fun he has once he begins the brain-dive. Working from a script by Joe Ahearne and John Hodge (a second attempt at a story that originally aired as a British TV movie), Boyle is enabled to indulge in all of his most frenetic tics and tendencies, unencumbered by the insidious forces of “logic” and “location” that prevented “Slumdog Millionaire” and “127 Hours” from entirely submitting to the banality of Boyle’s hyper-maximalist aesthetic hedonism. Boyle’s unwillingness to become stagnant is admirable, but his digital frenzy found its ideal home right off the bat in 2002’s “28 Days Later,” in which the rudimentary technology perfectly complimented the film’s end times unease.

Here – re-teaming with cinematographer Anthony Dod Mantle, who rose to prominence in the world of Dogme 95 and has worked on all of Boyle’s features since the digital revolution except for “Sunshine” – it seems like Boyle is more interested in how he can mess with the image than he is in what it’s revealing, an approach that capably (if obviously) illustrates the fragmentation of Simon’s mind, but fatally fails to articulate the shifting power dynamics at the throbbing heart of this plot mash.

Ultimately, amidst all of the shot refractions, strange asides about Elizabeths’ pubic hair, and the iPad that’s found in someone’s mind (I don’t even know), “Trance” is at its best when calms itself enough to focus on the psychic manipulations that steer drive the bizarre love triangle between Simon, Franck and Elizabeth. Simon is a hopelessly dull protagonist, but the film’s greatest coup is in how it plays with the idea that this might not actually be his story. Franck and Elizabeth aren’t trying to find a painting so much as they’re vying for the lead role in a picture, and the various means by which they try and play one another would be interesting if they weren’t muddled into sensationalistic nonsense, climaxing with an action sequence that’s only legitimate bearing on human psychology is how it reflects Danny Boyle’s desire to drive a flaming car off a pier.

Forgettably scored by Underworld’s Rick Smith (“Beaucoup Fish” for life, y’all), “Trance” doesn’t just share the name of a musical genre, but also its defining qualities; the highly suggestible (a percentage of the population that Boyle refers to as “virtuosos”) are seduced by its rhythms, while the rest of us are forced to endure an endless drone of flashing lights and thumping bass. This time, the synapses just didn’t click. No piece of art is worth a human life,” Simon tells us. “Trance” isn’t even worth 101 minutes of one. Danny Boyle will be back, but here’s hoping the song doesn’t remain the same.

SCORE: 3.5 / 10

Categories: Reviews

Tags: Danny boyle, Inception, James mcavoy, Review, Rosario dawson, Trance, Vincent Cassel

Jumat, 18 Januari 2013

Weekly Trailer Report: ‘Trance,’ ‘Ginger & Rosa’ & More

Amanda Mae Meyncke January 11, 2013

A rollicking bunch of trailers rounds out this week’s dramatic edition!

From the heights of crime and the reaches of the mind comes “Trance,” directed by Danny Boyle. The lovely drama “Ginger and Rosa” takes back to the ’60s and England. Pure evil knows no limitations in the stirring sequel “The Last Exorcism II.”

Check out these hot new trailers, and let us know what catches your eye in the comments below.

‘Trance’

In this stirring drama, an art auctioneer, a hypnotherapist and a thief all collide with millions on the line.
Starring: James McAvoy, Rosario Dawson and Vincent Cassel
Release Date: March 15, 2013

‘The Last Exorcism II’

A young woman attempts to rebuild her life after a horrifying brush with pure evil.
Starring: Ashley Bell, Spencer Treat Clark and Andrew Sensenig
Release Date: March 1, 2013

‘Ginger & Rosa’

This coming-of-age story follows two young girls in the ’60s against the backdrop of war.
Starring: Elle Fanning, Christina Hendricks and Alice Englert
Release Date: March 15, 2013

‘Evil Dead’

A dark cabin in the woods. A mysterious incantation. The undead. Friends struggle to survive against the forces of evil in this horror spectacle.
Starring: Jane Levy, Shiloh Fernandez and Jessica Lucas
Release Date: April 12, 2013

‘Filly Brown’

One rough and tumble young woman dreams of a life spitting rhymes, but can she make it in the tough music world?
Starring: Gina Rodriguez, Jenni Rivera and Lou Diamond Phillips
Release Date: 2013

‘Wrong’

Surrealism at its finest from the director of “Rubber.” A man searches for his missing dog amidst a host of wild and outrageous characters.
Starring: Jack Plotnick, Eric Judor, Alexis Dziena, Steve Little and William Fichtner
Release Date: 2013

‘Riddle’

A mystery unravels for a young teen girl as she seeks to find the truth behind her brother’s disappearance.
Starring: Elisabeth Harnois, Val Kilmer and Diora Baird
Release Date: Jan. 10, 2013

‘Fairhaven’

One man attempting to get through his father’s funeral is brought back to reality by two of his closest friends.
Starring: Chris Messina, Rich Sommer, Tom O’Brien, Sarah Paulson and Alexie Gilmore
Release Date: Jan. 11, 2013

‘Girls Against Boys’

Two young women go on a bloody crime spree seeking to right all the wrongs done to them by men.
Starring: Danielle Panabaker, Nicole LaLiberte, Liam Aiken and Michael Stahl-David
Release Date: Feb. 1, 2013

‘InAPPropriate Comedy’

In this outrageous comedy, a computer tablet full of offensive apps undermines the moral fabric of the country to hilarious result!
Starring: Rob Schneider, Michelle Rodriguez and Adrien Brody
Release Date: March 22, 2013

‘Sellebrity’

A stirring documentary looks into celebrity culture and the steep price of fame.
Starring: Jennifer Aniston, Jennifer Lopez, Sarah Jessica Parker, Sheryl Crow and Salma Hayek
Release Date: Jan. 11, 2013

‘Side Effects’

A young couple and a therapist become desperately entangled when dangerous psychiatric drugs begin to take hold over the wife’s life in this drama from Steven Soderbergh.
Starring: Rooney Mara, Jude Law, Channing Tatum and Catherine Zeta-Jones
Release Date: Feb. 2, 2013

‘Alienate’

In this drama, a man attempting to give his wife some space in their marriage finds himself in the midst of an alien invasion.
Starring: Tatum Langton, Blake Webb and Keith Hottinger
Release Date: 2013

Categories: Columns, Trailer Roundup

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