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.
A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
A spree of grisly murders is perpetrated in Frankfurt by a group of Satan worshippers. A school teacher almost runs over an old man with a box and takes him in. It's no accident that the ... See full summary »
An old Gothic cathedral, built over a mass grave, develops strange powers which trap a number of people inside with ghosts from a 12th Century massacre seeking to resurrect an ancient demon from the bowels of the Earth.
Feodor Chaliapin Jr.
THE SANDMAN tells the story of Nathan, a young student in the city who struggles to forget his childhood trauma at the hands of the serial killer dubbed "The Sandman." Nathan killed The ... See full summary »
An anorexic young woman escapes from a psychiatric clinic and meets a young man who wants to help. She is caught and returned to her parents, who are soon beheaded by a garrotting stranger making the rounds about town, apparently striking only when it rains. The orphaned young woman and her new lover launch their own investigation and are endangered when a link is discovered with the victims and a particular operation performed years before. Written by
Ed Sutton <email@example.com>
I'm beginning to laugh at the distinctions people draw between "good" and "bad" Dario Argento films. They all seem to have some common technical elements: clever camera-work, grotesque but deliberately unrealistic violence, weird music, incomprehensible plots, "impressionistic" titles, and poor acting. None of them work perfectly, even for fans of this style. The variations between the movies, then, come from the genre accidentals "Profondo Rosso" is a detective thriller, "Suspiria" an occult conspiracy tale, etc.; Argento seems to come along and apply his own unique vision of the giallo onto whatever horror style is fashionable at the time. It's his uniqueness, rather than his ability to produce great films, that has assured his place in the canon.
So, then, "Trauma" turns out to be exactly what we would expect from an early nineties Dario Argento film. Camera-work? Check even in this late period, Argento's eye and technique are strange and impressive. Violence? Double check although what the actual purpose of that Decapitron device is supposed to be, I can't imagine. Weird music? Check orchestral rather than Goblin this time, but still louder and a little more engaged than we would expect. Odd plot, check, arbitrary title, check, bad acting, check Asia Argento actually manages to make Aura a likable character, but you can't deny that she garbles her lines and seems mostly amateurish throughout. (And she's hardly alone in those respects.)
The slasher subgenre had died out a bit by this point, but no better reason for Argento to try to freshen it up a bit with his unique stamp. The story's quite watchable and fun, and occasionally funny too - more in the vein of "Phenomena" than the early stuff. It's frequently ridiculous, of course, but show me a movie of his that isn't. And while there's a sex element to the film, it has a surprisingly innocent quality, perhaps because Argento was directing his own daughter in the lead. (I'm sure Freud would have a field day with it, though.)
In the end, it's hard to strongly recommend it to anyone diehards are as likely to hate it as love it, and casual viewers are going to find his style absurd. So I'll give it a 6.5, with the simple comment that I would watch it again.
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