Evengyny Thanks for the memories!

VividSimon Simply Perfect

Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

beholder23 Somehow, after Argento's real masterpieces in the seventies and eighties he fully lost his genius. All his movies after Opera in 1987 cannot be taken fully seriously. Shure, Trauma includes all the classical Argento-tropes and cinematographic techniques his is know (and loved) for. But still, Trauma is not on the same top level like his earlier work. And I am not sure where actually the real contribution of Tom Savini was. The gore scenes are too clean and stay below expectation if you are familiar with Tom's and Dario's earlier work. So obviously Argento interfered in a negative way with Savini's Special-FX contribution. The solution to the who-dunnit-aspect of the movies is also - although weird enough - not really effective.

Paul Magne Haakonsen This is basically everything that you would come to expect from a late 1980's / early 1990's slasher / horror movie.However, given the predictability of the movie, then "Trauma" wasn't really much of an enjoyable experience, and there weren't any scares to be found anywhere.Director Dario Argento have some pretty nice titles to his name, "Trauma", however, is not really one of them.It was hard to get submerged into the story, because it was slow paced and rather mundane and dull. And the mediocre acting performances throughout the movie weren't really helping the movie along in a nice way either.If you enjoy Dario Argento's work, then there are far better pieces in the collection. It is hard to find anything worthwhile to recommend the movie to be seen, so I will not even try...

Jan Strydom TRAUMA is the fourth Dario Argento film I've seen for the first time and given that I've not yet seen the films considered to be his best just yet, this will be a review that won't compare it to films like SUSPIRA, INFERNO, DEEP RED, PHENOMENA and TENEBRE which I haven't seen but rather to OPERA, MOTHER OF TEARS and THE STENDHAL SYNDROME which are the only ones I have seen aside from TRAUMA.After I watched it I mainly thought this film was really weird, script wise the plot was really good and had an interesting twist to it, on a technical side the camera work was great, I just loved the style in which the camera was used, constantly moving and there were some strange angles at times, aside from all this the acting was rather dull and the score of the film was actually strange too, at times it played in scenes where it wasn't really needed and where it was needed it didn't really fit in with the scene.TRAUMA is also very low on gore and the violence in it which involves decapitations are very tame compared to the other three films I've seen and given that Tom Savini created some of the effects for the film, you would think it would showcase his work just like the other films he worked on did.The overall strange thing about it is is that it has its good points like the plot and the camera work and it has its bad points like the acting and the score, they almost balance each other out in some odd way.As far as recommending it goes, this might be a good place to start if you're just getting into Argento's films. and then move on up to his stronger films one at a time.Overall, compared to the others, I still favor THE STENDHAL SYNDROME, it just has something the others don't.

Cristi_Ciopron An appropriate way of underscoring Argento's merits as a director is to say that he allowed Dourif make his best in his cameo from Trauma (1993).I felt this,I knew this,but I only understood it fully when I realized how badly manages to treat the character actors in his movies another famous director—Lynch. I was thinking about Lynch and his way of showcasing moral teratology and about the villains he casts; Lynch had Hopper and Stanton in the cast of some of his movies—and look how muddy ,mucky makes Lynch their performances look.Dourif's cameo in Trauma (1993) is one of the most striking and sharp things to be seen in a horror ever—like Spacey in Seven, for the thrillers. Dourif gives an accurate idea of what an electric performance means—the pinnacle of sharpness .There is an electric austerity and limpidity —his small role being played in a straightforward way. His role is simultaneously sharp and electric and impressing and snappy—a snarling and snared man.Moreover, Dourif's cameo fits the movie. Or,the movie is not below this cameo. (For a counterexample ,I will name Robert Picardo in Stargate Atlantis; I enjoy much that series, and I have seen Robert Picardo doing a cameo in its third season—it seemed to me that he did not belong to that set—he was too god, too strong and subtle and vigorous and skilled for the role and for the movie.)A performance much better and more stylish than the movie is not only useless—it is bad. Argento knew how to frame Dourif's role.I would not even like that Dourif's role here was bigger; it is striking at this size.You can see that Dourif does not save himself;on the contrary,he gives himself fully,and with over-measure.He is one of the best living actors. Within the character performances, he has found real universality. "Trauma" is a good movie—despite the lack of success; and the very best thing in it is Dourif's cameo.An authentic B film is not directed to the crowds; it is directed to the genre's fans, or to the director's or the B actors' fans—if there are any. Sometimes, it is directed to no one especially. So, something interesting may be achieved.B movies seem to promise much, because there is the hypothesis that the director will be free to do what he wishes. The B cinema promises this fantastic opportunity. You can publish fine things as pulp; you can film beautiful things as B films, away from the impediments of the mainstream. There is, or at least there seems to be a certain degree of creative freedom. Commercially, these movies are so hopeless that one might find a chance to hit the jackpot in another way—by creativity and intelligence. It may result at least a thing of fun—of unrestricted and unconventional fun. A B movie, an independent one,or sometimes even a TV one may achieve this. On the other hand,the B is, of course, only the chance, the opportunity. One might try to be independent here. Unfortunately, most often the director seems not to wish anything. The greatest B movie is the one we dream about. In the Argento movie here, there are a few strong scenes, the best of this film—those with Dourif.I am a fan of Argento's cinema, and also a fan of this film.