Trance 2013 full movie free download

Unlike Mullholland Drive or Momento, there is a ultimately only a metaphorical logic here to rely on - at least most certainly in the conclusion with Vincent Cassel's character. If the painting is where it is, certain events must have taken place, yet there is this dream awakening of this same real character in his swimming pool. I'll forgive the film that, if for no other reason the last 60 seconds of the film are unexpected and brilliant. Regarding a certain dichotomy here of 'non-linear logic' versus creative metaphor, this is Dylanesque (as in "Under the Red Sky"); where disparate points of view are made with no connectivity; perhaps an impressionist painting is more what it is...

Vincent Cassel is awesome; upping his presence from Black Swan and too small a role in the CG Jung movie. He portrays a bad-guy who does what he has to - and not with a heart-of-gold, but with a growing admiration for Dawson's character, which meets its ultimate test at the end of the movie. James McAvoy is equally brilliant, totally drawing you into what you think he is, till a darker side begins to be shown in a really unique manner. McAvoy plays his character with such boyish appeal in the first ten minutes that you VERY QUICKLY find yourself lost and glued in an GREAT opening 15 minutes and in the "spell" of a master story-teller. McAvoy's reaction when - under hypnosis - he finds himself seeing all the stolen paintings brought tears to this viewer, especially as he cries out to see the masterpiece by Rembrandt. Great stuff. Rosario Dawson is fantastic and proves you dont have to create the usual Hollywood behaviors to accomplish a truly sexy, mysterious and intelligent female character.

The twists and turns are quick, intelligent and creative; the cinematography and direction of one scene after another were in many cases so well thought-out; even to a small part of the opening, when the thieves are about to see what they got, the scene opens in blur, and quickly sharpens. These kind of metaphors are delightfully mixed in with dream symbolisms and a creative juice that (with the exception of a rape-scene), never sold-out for the quick and easy solution; opting for a rather intriguing climax. While the power of hypnotism may be debated, the central theme of facing oneself; ie. not 'forgetting, repressing, etc' is as new as HS Sullivan 1930's bringing schizophrenics into recovery through 'moments of illumination' or expressed 2000 years ago with "The Truth Shall Set You Free." The ending drives this home perfectly in a more personal way.

BIG SPOILER ALERT: Three members of the group silently agree to a rape of the therapist. This act was very surprising as there is absolutely no foreshadowing that these characters, who are about to retrieve a $40,000,000 painting which will make them all millionaires, would nonchalantly agree to rape the woman most responsible for helping them get the painting. It strikes me as a last minute add-on by the movie-makers. They could have offered foreshadowing of the characters lusting after her, with additional jealousy as Cassel's character has sex with her - which would have been useful. They regard the rape with the same aplomb they would ordering a pizza. This did not seem real at all. They needed a way for these characters to be killed, and the movie-makers took an easy way out, looking amateurish in the process.

A couple of technical blunders also annoyed me. Director Danny Boyle is of an age of people who dont readily adapt their thinking to the computer age. I have a degree in Info Technology but most high-school kids could school this very creative Director in these matters here: When the robbery was going on, one hood smashes the monitors in the Hi-Tech/Information Services Security Room. Since the goal of the hood is to apparently somehow disconnect / destroy their security camera apparatus, smashing monitors certainly wont destroy the data one bit, nor will bashing in a single CPU (as he does), as even your local drugstore with the sign saying "Video Surveillance" has a redundant off-site connection that is duplicating the digital feed in real-time. A better real-world solution would've been using an electro-magnetic device that will totally zap the hard drive after previously interrupting the off-site backup system; thereby making data recovery impossible; and would have made both the art thieves and the movie-makers appear intelligent rather than ignorant, lazy or arrogant in this regard.

I cant help but think Im NOT THE ONLY ONE - during production - who recognized how silly that is, and perhaps the Director is just too aloof to take suggestions? A shoot the messenger kinda guy? Take for example the shotgun Cassel's character carries: This is ridiculous: a full-length solid stock!?! A folding "paratrooper" (or pistol-grip) stock would take an additional 12-16 inches off its length and would have allowed the character to do the intelligent thing: put the shotgun in the same bag the art satchel is placed in. Then you would have avoided the viewer being forced to believe he's carrying a full-length shotgun down a London Street hiding it while walking.

It kind of reminded me of Guy Richie in "Snatch;" where, after directing a great scene beautifully showing the gangster with his .50 cal Desert Eagle compared to his opponents' "Replicas," Richie goes out of his way to show he's never shot a gun in his life, by having 'Bullet-tooth Tony" shoot this monster weapon using the ghetto twisted-one-hand style, which amusingly guarantees you'll miss your target and sprain your wrist in the attempt. I have personally shot that weapon and know the kick it has. As someone who's been shooting for 50 years, it's laughably amateurish to shoot any handgun in that ghetto manner, no matter how "cool" it may look to some; unless you're a movie director.

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