Steve Jobs takes us behind the scenes of the digital revolution, to paint a portrait of the man at its epicenter. The story unfolds backstage at three iconic product launches, ending in 1998 with the unveiling of the iMac.
When the kinetic Rory moves into his room in the Carrigmore Residential Home for the Disabled, his effect on the home is immediate. Most telling is his friendship with Michael, a young man with cerebral palsy and nearly unintelligible speech. Somehow, Rory understands Michael, and encourages him to experience life outside the confines of home.
Vicenarian Richard travels to Thailand and finds himself in possession of a strange map. Rumours state that it leads to a solitary beach paradise, a tropical bliss. Excited and intrigued, he sets out to find it.
A fine art auctioneer mixed up with a gang joins forces with a hypnotherapist to recover a lost painting. As boundaries between desire, reality and hypnotic suggestion begin to blur the stakes rise faster than anyone could have anticipated.Written by
James McAvoy and Rosario Dawson have both played characters in Marvel Comics productions. Rosario Dawson plays Claire Temple on several Marvel Comics TV series including "Daredevil" and "Luke Cage". James McAvoy played Charles Xavier in "X-Men: First Class" and its two sequels. In addition, Dawson plays the Dark Horse Comics character Gail in the movie adaption of Sin City. See more »
Simon shot the revolver using one bullet. So there must be five more bullets left in the revolver since normally only six bullets in a revolver. But we can hear he shot another eight more shots from his revolver to the burning car without ever reloading. See more »
[auctioneer is barking prices]
There is a painting, it's by Rembrandt. 'Storm On The Sea Of Galilee', it's called, and he's in it. Old Rembrandt, he's in the painting. He's in there, right in the middle of the storm, looking straight at you. But... you can't see him. And the reason you can't see him is because the painting has been stolen.
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After the closing credits have rolled, the audience hears the familiar five taps on the glass window that was an iconic audible signature throughout the film. See more »
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.
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