3/5 stars

Danny Boyle has ascended to the echelon of national hero. Not only is he an award winning and talented director, but he also had the queen jump out a helicopter. Boyle juggled the role of directing the Olympic opening ceremony with his next film Trance, a psychological thriller that explores the mind. Sadly you see the toll of taking on too much, as although Trance is an enjoyable and intelligent film, it seems Boyle was distracted leaving severe flaws.

In a film as complicated as Trance there was a danger it would confuse audiences. There is a struggle to define what is real and what is a ‘trance’ leaving us. It is hard to keep up with the constant unravelling of truths and events, perhaps a second viewing would make everything clearer. Furthermore, in the complex story maze characters motives and actions are often unexplained, meaning much of the storyline does not make sense and we are left with plenty of unanswered questions as the credits roll.

However, the story is engaging and does manage to hold our attention, with constant  twists that are completely unpredictable. As events unravel the intelligence of the writers (Boyle’s frequent collaborator John Hodge, and Joe Ahearne) shines through. They succeed in balancing the elements of emotion, humour, thriller and action to make a film that will appeal to many – although the unnecessary graphic nudity and violence might alienate some. Boyle proves that he is still able to attempt different genres successfully, exploring the mind through an interesting premise that is original and intriguing. He ensures he has his stamp on the film by having Rick Smith, his usual composer, write the music. Smith adds a distinct sound to Boyle films, and this is certainly true for Trance.

Trance is packed with great performances. James McAvoy is a great watch as always, but outshone  by his other cast members. Vincent Cassel perfects the threatening and intimidating lead criminal. But it is Rosario Dawson who steals the screen. She embodies the hypnotherapist, and switches between alluring, professional and vulnerable with such ease.

Boyle’s return to the screen is thrilling, intelligent and original, and with some stellar performances it is certainly enjoyable. It is a shame though that the sever flaws leave it falling short of its full potential.

Emily Murray