A young man tries to help a teenage European girl whom escaped from a clinic hospital after witnessing the murder of her parents by a serial killer and they try to find the killer before the killer finds them.
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The beginning of the end for Argento. A complete mess, but still lots of bizarro fun if you try not to compare it to his earlier masterpieces. Talking decapitated heads, awkward erotic shots of his own daughter and the always lovely and batshit crazy Piper Laurie doing what she does best.
Calamitous. It seems that most of the scenes of TRAUMA have been polished by a politically correct American censor. Unfiortunately, with Dario Argento, one can not hope that the quality of the screenplay saves the movie when the production is falling apart so let's forget this one.
A far cry from Dario Argento's horror masterpieces of the 70s and 80s, with only a handful of moments that hint at the twisted genius that made his earlier films so extraordinary. Superb cinematography and Argento's patented sweeping camerawork make for a great-looking film, but the cheesy script fails to build much suspense, and it's not too hard to figure out who the killer is. A major disappointment.
Argento americanized, like, in B-movie style. There’s the precocious kid which American horror movies have a hard time doing without, the Disney-like orchestration, easygoing witty dialogue, studio aesthetics with studio lights. But Argento manages to bring along some of his own personal twists and perversions and love of close-ups, so occasionally there’s that Argento vibe.
Não chega aos calcanhares dos primeiros filmes. Confuso, a Asia não esteve tão bem assim, o facto do David se auto medicar pela perda da Aura era desnecessário. Acredito que na década em questão a anorexia fosse um dos principais distúrbios nos jovens, muito devido à indústria da moda, mas acho que a sensibilização para o tema não foi adequada. Gostei das decapitações.
Visual flavor and musical score that feel more appropriate for a slasher but silly dialogues, nonsensical storytelling and fetishistic murders make it Dario Argento's home ground. Couple of awkward moments such as talking heads and creepy angels are still not sufficient to create enough unique style over typical lack of substance like in a old glory days.