Trauma

Never a terribly coherent storyteller, here the gorehound’s Godard dispenses almost entirely with the plot development. Instead, Argento concentrates on mood, and, making terrific use of various run-down Minneapolis locations, he succeeds in giving Trauma the feel of a waking nightmare

While Trauma is a veritable stew of psychological motivation compared to so many of the director's other films, the prevailing motivation remains, just as it is with Argento's killers, technique. [15 Sep 1993]

The script – which revolves around a serial killer and explores the idea of traumas both mental and physical – isn't particularly strong, but the direction is, as always, first-rate.

While the film has an excellent concept, its overuse of traumatic medical conditions, disorders, botched surgeries, and motherhood makes for a confusing plot that has too many moving parts to retain a cohesive story.

The first American feature from Italian cult director Dario Argento, TRAUMA is not as flamboyant and extreme as his previous films but still manages to deliver the goods.

A film that ultimately feels forgettable as nothing about it, from visuals to score, finds a home in your brain (and that includes ending with a weird music video during the end credits).

There isn't a half decent performance to be found here, and his own daughter in the female lead is particularly awful. Also, a barely credible plot and uneven pacing don't help. Yet Argento's occasionally brilliant camerawork and the evident glee with which he sets about the decapitation scenes make this just about worthwhile.