User reviews

Dario Argento's "Trauma" of 1993 is definitely one of this great director's lesser films, but it is nevertheless a more than decent Thriller and better than most 90s Horror films. The 90s were a bad decade for Horror in general, and definitely also the worst decade in Dario Argento's career, with his doubtlessly worst movie "Il Fantasma Dell' Opera" in 1998. "Two Evil Eyes" of 1990 which he made with George A. Romero, was also a good Horror film, but not nearly as great as a film by Romero and Argento could have been. "Trauma" is definitely not comparable to Argento's masterpieces from the 70s and 80s. As far as I am considered, however, Argento is one of the greatest Horror directors of all-time, and films like "Suspiria", "Profondo Rosso" or "Phenomena" range high in my personal all-time favorite list. Even Argento's weaker films are usually above average, and "Trauma" is a more than decent film that easily outshines the majority of 90s Horror efforts.

Director Argento's daughter, then 18-year-old Asia Argento stars as Aura, a teenage Romanian girl who has escaped from a mental hospital where her parents sent her, supposedly to cure her anorexia. What Aura is really fleeing from, however, is a serial killer who only operates when it rains. Journalist David (Christopher Rydell) wants to help the girl...

Generally speaking, "Trauma" has everything decent Horror films need - it is stylishly filmed, atmospheric and very suspenseful from the beginning to the end. What Trauma sadly lacks, are many of the brilliant trademark Argento elements. Most of Argento's masterpieces from the 70s and 80s had brilliant scores by Progressive Rock band Goblin. "Trauma" unfortunately hasn't, which is one of the elements that I missed most. The change of scenery from Europe to the United States doesn't compliment Argento's style of film-making either. Then again, the camera work is, as usual, great, and even though the film is not quite as ultra-violent as some other Argento films, there is quite an amount of stylish, gory bloodshed. The performances are fine too (although not breathtaking), especially young Asia Argento convinces in her first leading role. The supporting cast contains Frederic Forest, Brad Dourif and Piper Laurie.

As mentioned above, "Trauma" is certainly not one of Argento's masterpieces. But even this ingenious filmmaker's lesser films are above average, and "Trauma" is definitely a more than decent 90s Giallo that Horror fans should not miss! Recommended!

A young man (Christopher Rydell) finds an bulimic girl (Asia Argento) who has escaped her parents. When returned to them, a killer with a unique mechanical decapitation device strikes. Soon, the two must find out who the killer is, and what they want.

Released in 1993, "Trauma" has received some flak from Dario Argento fans, who consider it one of his weaker efforts. In a way, I can agree-the movie has several plot holes, the acting is largely hit and miss (Asia is pretty inexperienced here), and it's not as gory and stylish as his other films.

Yet, there's still plenty to recommend in this movie. The movie is Argento's more character and plot oriented films, and it's surprisingly easy to follow. There's also still plenty of Argento's wonderful stylish touches, and while not as gory as his previous movies, there's still some great kills (including a great bit involving an elevator). The score by Pino Donnaggio, while not as good as Argento's past musicians, is still up to task. Finally, the presence of several acting vets (including James Russo, Brad Dourif, Frederic Forrest, and an excellent Piper Laurie) don't hurt at all.

"Trauma" is not Argento's best movie, and certainly pales in comparison to movies like "Deep Red", "Suspiria", and "Inferno." As it stands though, it's an underrated movie, and worth a look, especially if you are an Argento fan.

There are some good stuff here to be sure. Argento-fans tend to rate this way down on the scale and criticize it for being to "americanized". I don't agree. Sure, there is a certain sense of "half-baked Argento" here and there, but I don't find that to be a minus point. If anything, being made in the states, it has more convincing performances and the production values can not be faulted. It's look may seem aneamic if viewed beside "Suspiria" or something more of Argento's more gaudy creations, but I think that this is intentional. Cinematography it absolutely top-notch, conveying a suitably spooky atmosphere to many scenes. The story is fairly straight-forward for an Argento movie, but not standard fare, and if this had been made by a newcomer it would have been hailed as very solid suspenser indeed. The plot twists and turns even if the outcome isn't too much of a surprise. However, one thing really bothers me about "Trauma". The sfx-work by Tom Savini is truly awful. Some scenes, like the one in the elevator-shaft, start creepy enough but are ruined by the effects overall cheesiness (the falling head is only laughable instead of frightening). Shame on you, Savini! Bring on Sergio Stivalletti! Another thing that's not very good is Pino Donaggios score, which he seems to have composed in his sleep. It's not bad, it's just that it seems so routine. Compared to "Deep red" and a few others, this is not Argento at his best. But even Argento at half-speed is better and more interesting than most directors produce within a lifetime.

(***1/2 out of *****)

This shot-in-Minnesota Argento mystery-thriller never gets the credit it deserves. So it's not as flashy and deliriously twisted as some of the Italian master's earlier work -- so what. It relies more on creating people you actually care about and, for this reason, I think it's one of his most character-driven films. Argento's real-life daughter (and European sex symbol) Asia Argento plays a young anorexic who witnesses the decapitation murder of her parents by a serial killer known as `The Head Hunter' who only kills when it's raining. With the help of a local TV news writer (Christopher Rydell), who is himself a recovering drug addict, she tries to solve the murders and reveal the killer's identity before he/she kills again. Although it's not quite as lavish as, say, Suspiria or Opera, there are some typically inventive touches that raise this above other early-‘90s slasher movies of its kind (for example, the killer uses a mechanical device with a razor-sharp wire to decapitate victims, and some heads continue to move and even speak for a few seconds after they've been cut off.) A great oddball cast (including eccentric character actor Brad Dourif, Frederic Forrest as the suspicious, unconventional doc, and Piper Laurie as Asia's batty, phony-medium mom) make it even more enjoyable -- but, honestly, this movie has one of the most unusual and seemingly out-of-place opening and closing credits sequences of any movie I've ever seen.

HIGHLIGHT: When the wire on the decapitation device snags on Dourif's necklace, the unruffled killer compensates by dragging him over to an elevator shaft and pushing his head under the descending elevator car.

TRAUMA

Aspect ratio: 2.39:1 (Technovision)

Sound format: Dolby Stereo

A TV newsroom artist (Mark Rydell) helps a distraught anorexic (Asia Argento) to investigate the death of Argento's mother (Piper Laurie) at the hands of a monstrous serial killer.

Though often cited as the film which signalled a creative downturn in Dario Argento's career, TRAUMA is actually a much better entry than its reputation suggests. The victim of spotty theatrical distribution and horrendous pan-scanned video versions - which reduce the wide Technovision frame to a mere shadow of its former self - the film is an exercise in giallo excess, culminating in one of the finest Grand Guignol set-pieces of this director's long career. Indeed, far from providing evidence of 'creative decline', TRAUMA is actually a fine addition to Argento's filmography, and is ripe for reappraisal.

Despite its American setting, the film is defiantly European in style and execution, employing ultra-wide scope framing, inventive camera-work (including a bizarre shot from the point-of-view of a butterfly!!), ornate narrative structure and eccentric characterizations. It's no wonder some of the supporting American players seem a little disconcerted by the director's unconventional approach (including Frederic Forrest as a doctor sporting an unexplained neck-brace, and James Russo as a typically hard-boiled cop, always one step behind the film's youthful protagonists)! And the script - co-written by Argento and celebrated fantasy author T.E.D. Klein - adheres faithfully to the giallo template, punctuating its convoluted storyline with several grisly murders (though not *that* grisly, considering the involvement of makeup wiz Tom Savini), and a number of compelling set-pieces: The seance which ends in murder; the mental institution where the killer disposes of an important 'clue'; the room full of billowing drapes (an authentic stroke of genius); and the climactic revelation of the killer's motive, which is so utterly horrific, it almost justifies his/her gruesome rampage. The movie ain't called TRAUMA for nothing!

At least two other versions of the film have surfaced in bootleg video form over the years, both of which plug a number of gaping editorial gaps in the official 'director's cut' (note, for instance, the abrupt introduction of Rydell and Asia at the beginning of the film), which indicates either distributor problems or a rushed post-production schedule. This may explain why Pino Donaggio's half-hearted score sounds like it was written and recorded before completion of principal photography and tailored to match the finished product, rather than the other way around. The cast is a typical Argentonian mixed bag: Asia portrays the same joyless harpy she's played in all her collaborations with Argento to date (including THE STENDHAL SYNDROME and THE PHANTOM OF THE OPERA), leaving Rydell to shoulder most of the film's emotional burden as a young man who learns to accept Asia's flaws whilst simultaneously falling in love with her (few) virtues. Frankly, she doesn't deserve him! Laurie makes much of her limited screen time as Asia's domineering mother, while Brad Dourif (the "Lord of the Rings" trilogy) plays a former doctor whose guilty conscience comes back to haunt him in the worst possible way. Watch out for ex-"Falcon Crest" star Laura Johnson in a brief but creepy performance (her final scene is genuinely chilling) as an ambitious TV news anchorwoman who tries to stake her claim on Rydell in no uncertain terms.

An anorexic teenager sees her parents murdered and thinks the killer could be coming after her next, so it's up to a struggling addict to keep her safe.

Dario Argento's flair for over the top gory set pieces isn't as noticeable here and everything feels more calm and by the numbers, but every now and then, there's a shot or sequence that feels like old fashioned Argento and those moments are worth watching it for. It's also interesting to see a film of his that appears to use all live audio from the set and that takes place in America. It's jarring at first, but you get used to it.

Dario Argento scraping bottom.

As the director's stylistic flourishes seem to be muted by the American setting - although there are some small moments here and there that work -, you're left with one of those silly giallo plots full of cheap and exploitative psychology, random narration, amateurish performances - the only decent acting's done by Brad Dourif - and no logic at all.

There's a certain fascination to be gained watching rubbish like this. At least, it's Argento rubbish! There is a hypnotic quality to all his movies... even to the most atrocious ones such as this.

2 out of 10 talking heads

In Dario Argento's "TRAUMA", Piper Laurie's performance as a highly eccentric medium is about the only thing that stands out in this tired 'slasher' flick.

Dario Argento has proven with "TRAUMA" that he is entering his 'twilight' years as a Director with this flimsy vehicle that couldn't move any faster even if a fire was lit under it. It is perhaps his first foray into the Americanized 'slasher' genre as we know it, which is okay, but apparently someone forgot to tell him that the year was 1993 and that tactics used for slasher films that heavily populated the 80's was not cool anymore.

The second mistake Dario Argento is guilty of is casting his daughter, Asia Argento as the main lead in "TRAUMA". Not only is she highly incapable as an 'actress', but she takes away all credibility contained within the 'story-line' every time she appears on-screen. A good example would be the scene where she intends on committing suicide by jumping off a bridge and is 'coaxed' back over the railing by a young man named David (portrayed here by Christopher Rydell). She injects no authenticity or plausible acting in this scene alone that it is rather excruciating trying to make sense of her abilities as an actress.

The film's premise is typical of a Dario Argento thriller. We have a serial killer on the loose who makes a nuisance out of him/herself by cutting off the heads of his/her victims. The first victim is an African-American chiropractor (again, here we have a prime example of cliches contained in 80's slasher films - the first victim happens to be of African-American descent) who is murdered in her office by a black ski-mask clad psychopath. Asia Argento is a runaway teen who is returned to her parents (portrayed here by Piper Laurie and Dominique Serrand) by some sort of truant officer. Her parents are practicing mediums who make a business out of 'speaking to the beyond'. Actually, it appears in this movie that Piper Laurie handles the 'speaking to the beyond' part while her husband tends to the books. Upon the return to her parents, a seance is conducted that very night which results in the brutal murders of both her parents during a violent thunderstorm. Asia chases her parents outside in the rain, only to find their decapitated bodies lying on the grass.

Who is the killer? Unlike Dario's earlier films such as "PROFONDO ROSSO" and "TENEBRE" where the killer is revealed at the end and his/her motives satisfy the viewer once you look back at all the pieces that finally fit the complex puzzle, the motive for all the murders in this movie is highly preposterous and quite ridiculous.

All of Dario's trademarks from his earlier films are nowhere to be found in "TRAUMA". There really aren't any scenes displaying exceptional camera-work and there is not enough suspense built into the plot as it drags along quite slowly. Piper Laurie is outstanding as she gives a performance reminiscent to that of her turn as Mrs White in "CARRIE". Other than the scene where a tree branch brushes against a window during a storm, there really are no other thrills contained in this yawn-fest to keep you interested.

"TRAUMA" is a very sorry and boring experience that comes as a huge disappointment given that Dario Argento directed this garbage. Asia Argento being cast as the lead role wasn't much help either.

I say, avoid this one folks.

My Grade: F

Italian's top-class horror director Dario Argento obviously impressed some people with his previous films ('Opera' in particular) as he was offered the opportunity to film a fully American backed production. Trauma is a gruesome and sadistic thriller from the giallo-master, completely set in Minnesota and depending on a respectable US cast. There's a serial decapitator at large and the young, anorexic Aura (director's daughter Asia Argento) seemly is his/her main-target. The good-hearted journalist David (Christopher Rydell) takes the girl under his wings after the killer got both of her parents and, as their relationship becomes more intimate, the routine of sadistic killings slowly emerges. A bone-chilling mystery from the past slowly unravels and it involves multiple (ex-)doctors from a psychiatric clinic.

The plots in gialli rarely are credible so you can count on the fact that this 'Trauma' contains several far-fetched nonsense aspects as well. Especially the U-turn twist near the end is pretty hard to digest. My advise: don't pay too much attention to this and drown in Argento's brilliant as always camera movements and the stunning portrayal of the violence. Trauma may not be as bloody as 'Tenebrae' or the more recent 'Sleepless' but some of the butchering done here still is perfectly nauseating. What else do you expect with a killer whose modus operandi includes beheading people? Unfortunately, Argento still lacks the skills to direct his actors. You can't even blame the dubbing this time, but the performances are far below average. Asia Argento is forgiven, since it was her first leading role. But I expected a little better from routine B-stars like Frederic Forrest, Piper Laurie and James Russo. Brad Dourif is a joy to observe, but his appearance is far too brief to save the dull acting. To me, Trauma turned out to be a pleasant Sunday afternoon time-waster. Not nearly Argento's most memorable film (he hasn't made any memorable film in the 90's) but maybe the ideal film for inexperienced horror fans to get into contact with Argento's work. All the trademarks that made him legendary in the field are present, but none of them is properly elaborated like it should be.

Trauma, Dario Argento's first US production, is often cited as one of the director's weakest movies. This may be, in some part, due to the fact that he 'held back' slightly, for fear that his new American audience might not fully appreciate his more outrageous directorial touches. It may also be because Argento unwisely allowed nepotism get the better of him and unwisely cast his inexperienced daughter Asia in the lead role.

Whatever the reason, Trauma is certainly a far cry from the director's classics such as Deep Red or Tenebre, lacking the excellent camera-work (to me, the butterfly-cam felt like he was trying a tad TOO hard), precise editing, stunning soundtrack, and stylish death sequences of these earlier works.

The one factor that Argento does retain from his Italian films is a ludicrous plot; unfortunately, without the other outlandish elements to distract the viewer's attention from the dumb story, the film flounders in its own idiocy.

In Trauma, Christopher Rydell plays David Parsons, a young man who becomes involved in a deadly mystery after preventing Aura (Asia Argento), an anorexic girl who witnessed the murder of her parents (by a maniac with a hand-held decapitation machine), from committing suicide.

Dario Argento, who is often referred to as the 'Italian Hitchcock', has fun referencing both Rear Window (by having a young lad spy on the killer from his bedroom window) and also Psycho (with a shower scene that mimics certain shots from the 1960 horror classic), but on this occasion, however, the director is definitely not worthy of the comparison: he delivers a lacklustre and infuriatingly silly effort that took me three viewings to get through.

The pacing of the film is dreadful (for example, David's descent into drug addiction towards the end of the film happens in the blink of an eye), the acting is awful (Piper Laurie overacts; Asia Argento doesn't act) and even the gore FX by the usually reliable Tom Savini do not impress.

Moreover, the film is not in the least bit scary, and often elicits laughs rather than screams: in a couple of the film's daftest moment, the just-severed head of a murder victim manages to utter a few words to the hero, and, after a decapitation by an elevator, another head is seen screaming as it falls down the shaft!!

Perhaps the most disturbing moment of the whole film, in my mind, was the brief topless shot of buxom Asia: maybe it's just me with my uptight British sensibilities, but filming your own daughter with her norks out just doesn't seem right!

Italian horror master Dario Argento's only venture into American film-making was this tight, unique thriller.

Young man tries to help a troubled anorexic girl catch the 'head-hunter' killer that murdered her parents.

Trauma is a film that has been given the shaft by many critics, including some of Argento's own fans. Trauma is a step outside of Argento's typical colorful style as it goes for a more subtle look. Still Argento does flair with some creativeness in this film. The camera work and atmosphere are splendid, helping to make the mysterious story all the more intriguing. Pino Donaggio also lends some good music to the film as well. The theme song 'Ruby Rain' sang by Laura Evans is a nicely haunting little piece by itself. Also different from the other works of Argento, this film is rather light on gore, but still manages to have some shocking murder sequences thanks to some wild set-ups.

The cast is quite good. Chris Rydell shines as our likable young hero. Asia Argento, Dario's daughter, does a decent role as the young victim wrapped up in the mystery. Veteran actress Piper Laurie is great as always as Asia's psychic mother. The supporting cast hold their own too.

Despite its differences from Argento's earlier classics, Trauma is a fine piece of film-making itself. It's a must-see for Argento fans and just right for those seeking an off-beat thriller!

*** 1/2 out of ****

Dario Argento makes a clunky transition to film-making in the United States with "Trauma," but still succeeds in creating an atmosphere of suspense and menace. The cast, while well-chosen, is prone to overacting (with Piper Laurie and Frederic Forrest being the key offenders), and the plot revolves heavily around coincidence. Despite this, Argento's skillful POV shots (the hospital sequence is especially impressive) imbue the film with an efficient mood of dread, and the story, once fully revealed, makes a bit more sense than the director's earlier, more artistic efforts. Tom Savini's makeup effects are well-done, but underutilized (even in the uncut version).

Trauma is a particularly significant horror in that it was the first film to be made by Italian genre master Dario Argento on American soil. Following a string of eye-catching, kaleidoscopic gialli and superior supernatural tales, Argento found himself at the door of Hollywood, an industry which, at the time, was struggling to churn out much in terms of originality in the horror/thriller genre. While he had employed English-speaking actors before, such as Jennifer Connelly, David Hemmings and Karl Malden, their roles were often crudely dubbed, and Trauma offered the director a chance to reach a broader audience with his unique - if obviously Hitchcockian - blend of build-up and terror.

Disappointingly, Trauma, if anything, represents the beginning of Argento's drastic career decline. The opening is full of promise, as a familiar black-gloved killer stalks a victim before killing her in a brutal and stylish fashion, here with a device which allows the victim to be garroted with relative ease. Bolstered by a POV style and traditionally great effects work by Tom Savini, it's a scene that could have easily been taken from one of Argento's native works. However, as popular as the giallo craze was, it didn't quite reach the general American audience, and so Trauma gets watered-down and peppered with horror clichés in an attempt to cast a wider audience net. While the tropes are there - an everyman (Christopher Rydell) is forced into sleuthing while dodging the police - it does little but frustrate as you realise that somewhere, deep down, there's probably a great giallo trying to get out.

So while the film has it's odd moment, the result is an incoherent, and somehow quite boring, mess of ideas and clashing styles. Starting promisingly, the story goes on to place anorexia sufferer Aura (Asia Argento, the director's then 17 year-old daughter) in the hands of illustrator David (Rydell) after her parents are murdered by the masked killer, and it is during this period that the film does nothing but lay out a string of red herrings, as well as creepily leering at Argento's youthful beauty. The final third is an exhausting conveyor belt of anti-climaxes, before the ludicrous (and not in an entertaining way) reveal that feels like it was made by a sub-par Tobe Hooper or Wes Craven arrives. While it's nowhere near the level of atrociousness that Argento would vomit out in 2009 with Giallo, Trauma feels like it was made by a once-great visionary who had tiredly given in to the producers' voices in his ear.

When I picked up TRAUMA at the vid-store, I wasn't really expecting much from it. I'm not a big Argento fan, but I do enjoy Italian horror/cult films. I have to say, I was totally impressed by it! It was a surprisingly great horror-suspense film with great camera work & gore as well. A lot of familiar faces in this film including James Russo, Cristopher Rydell, and Piper Laurie who you might remember from THE FACULTY. Also the lovely Asia Argento who commands the movie like she did in Michele Soavi's THE CHURCH.

Before URBAN LEGEND, I KNOW WHAT YOU DID LAST SUMMER 16, & SCREAM 3000 there was Dario Argento's TRAUMA. And if you enjoyed any of those similar movies you should love this one as well. Except this one is ten times more scarier and realistic with tons of unexpected plot twists that would put all those movies to shame. Its just too bad Argento doesn't make any more horror movies 'round these parts.

Although I'm a big horror fan, I have never felt any affinity to the giallo genre. But it can't hurt to step out of your comfort-zone now and then, so when I stumbled over this movie in a garage sale I gave it a try. Meanwhile I realize that "Trauma" is not considered as one of Argento's best, so I have to take that into account.

The story may be a bit over-wrought, and the pace (the movie dates from 1993!) relatively slow, but I was pleasantly surprised by the sinister, brooding atmosphere, enhanced by a remarkable and very effective photography. The gore was reasonably done (the decapitation-device was a real find!), but at other times the tumblings of the severed heads (some even talking!) caused mainly chuckles. Some of the scenes were definitely too much (like the final show-down in the cellar-dungeon), but others were really thrilling (the seance!) or even extremely subtle in a nerve-racking way, like the scenes with the little spectacled boy entering the house of the killer, reminding me a bit of De Palma.

Asia Argento was beautiful, but had a rather annoying part, acting either cross or terrified (mostly both). Christopher Rydell was a surprise to me, very attractive and acting easy and natural, a pity that his filmography since Trauma was only modest and seems to have ended around 2010. I don't know how Piper Laurie came involved in this project, they gave her an impressive, almost gothic appearance, but her acting was way over the top.

All in all, some mixed feelings but nonetheless surely worth while to have seen.

"Trauma" is definitely not the best film he's ever done, and by no far the worst either, but it's just not up there with (Deep Red, Suspiria, Tenebre and A Bird With A Crystal Plummage).

The set up is good and the acting is top-notch especially Asia Argento, she's a talented actress. The movie starts off good and the storyline is interesting and has a good twist at the end, it's just the middle I found a bit muddling. TRAUMA is occasionally a pleasingly twisted film, but whilst watching it I couldn't shake the feeling that it could have been all the more gloriously twisted if it were not for one thing- that it was trying to please its (perceived) American audience. As I've said (several times!) there is no way you can disguise Argento's intrinsic strangeness, but here it seems, well, kind of muted. Explaining why it fails somewhat, the film (and hence Argento) seems uncomfortable in its setting; especially in its attempts to transport some of giallo elements to a foreign setting.

All in all "Trauma" isn't a bad film, just mediore at times.

Argento's American filmed giallo movie in which an unknown killer decapitates victims using a small mechanical device during rain storms. One kill is achieved by first activating a motel room fire extinguisher before execution. I liked this aspect of the movie. I noticed a few nods to Hitchcock too, some music and a shower scene. Dario's daughter Asia, 18 at the time, stars. A very attractive young woman and I am no prude but I felt her brief topless scene was not really necessary, One of the things that spoilt Trauma was for me what I can only describe as silliness, one decapitated head manages to utter a name, another yells out loud as it falls down a lift shaft. Some of the musical score would not be out of place in a comedy, so different from the Goblin soundtracks from Argento's classics. Trauma looked like nothing more than a straight to video movie, the production values were no better than a half decent TV film. When the end credit roll we suddenly get a random reggae band playing at some house. Strange. As a crime thriller/horror film Trauma is reasonable but as an Argento movie it is disappointing. Not his worst film but very poor compared to the likes of Deep Red and Suspiria.

I had to watch this film 5 times to understand what happened. I've had a very difficult relationship with Trauma that I didn't have with Argento's films on either side. I loved The Stendhal Syndrome and found Opera to be a masterpiece. It was only on this viewing that I understood the reasoning behind the reveal- not that it's particularly coherent but at least I get it. The section with the lesbian couple feels very Lynchian but then moments of phony gore and cheesiness bring you back to the reality of the film. And that's one of the huge problems with this film- the tone. It moves back and forth between highs and lows too quickly. Scenes with beautiful, flowing camera work and a real sense of tension are cut in half by extremely awkward special effects. The script is meandering and the pacing is weird. The worst problem is that there's no cohesive atmosphere- and for an impressionistic film like this that's a huge downfall. Argento did better in the modern thriller genre with 2009's Giallo- not that it was a particularly good film, but it knew what it wanted to be and embraced it wholeheartedly. Sleepless and The Stendhal Syndrome both hit what they were shooting for in being "modern gialli". Trauma tries to be both at once which makes the film a very rocky ride. I've tried to love this film but I just can't. I can however sit down and enjoy the cinematography and few moments of brilliance. If you're an Argento die-hard I expect you might be able to do the same.

Dario Argento's Trauma is his only American film in full length.

The film is filled with elements from his previous Italian produced films. The Hitchcockian element from Argento's Animal trilogy is present here (the Hitchcock element even furthered by Pino Donaggio's music score, a frequent Brian De Palma collabarator), as is the Freudian undertone of repressed guilt and past sins from Deep Red and Tenebrae. This is Argento basically delivering his usual giallo in a more American style. And he's hugely successful at it, too.

Trauma has a lot of great set pieces, some great scenes of extreme violence and gore to spare,a cleverly plotted and written story, decent performances from Rydell and Asia and genuine old fashioned suspense. And a devilishly clever ending. Trauma has it all in abundance.

It goes a bit over the top concerning those severed heads and some make-up effects could have been better, I thought. But these are minor quibbles in an otherwise excellent suspense yarn from a master director. Trauma may well be his most underrated film.

I have to say, also, that I find it immensely enjoyable that Argento used live sound here instead of his usual dubbing.

An interesting film with many of the traditional Argento themes, killing methods, gore and suspense. The one thing this film was lacking in, surprisingly, was style. I'm not saying there wasn't any style, it just seems he toned it down for the American production. It lacks the angles, colors, bizarre situations, and excessive gore of his earlier works. If you are a Dario fan, this is definitely worth watching but if you are not, it may be difficult for you to catch all the director's nuances and interesting touches that make this film enjoyable and sets it apart from the average slasher film. Overall, it is an average Argento film.

I'm big fan of Dario Argento movies and was hoping something great entertainment and music in this film but I was very disappointed with the story, suspense, music, atmosphere & killings which I have always found on the top in other films given by Dario Argento. It was very boring slow in pace and can't recommend. 4/10