FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Tobias Burrows It's easily one of the freshest, sharpest and most enjoyable films of this year.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Cristal The movie really just wants to entertain people.

NateWatchesCoolMovies Dario Argento's Trauma is simultaneously one of the most loopy and coherent efforts from the maestro. Most of his earlier work is pure sensory and atmospheric bliss, detached from things like logic and story. While this one does in fact have a discernible narrative to go along with its giallo splendor, it's still as whacked out as anything else in his ouvre. This was the first of many times he would cast his exotic beauty of a daughter Asia in a lead role, here playing troubled Romanian teenager Aura Petrescu, on the run from dark forces that seem to plague her family. Her lunatic mother (a terrifying Piper Laurie) has her committed and examined by a freaky Doctor (Fredric Forrest in a glorious train wreck of a performance), meanwhile a mysterious serial killer called the headhunter is out there somewhere, decapitating people with a piano wire. It all gets a bit overwhelming for poor Aura, and she runs off, straight into the protective arms of an ex drug addict (Christopher Rydell) who becomes her guardian and eventual lover. Argento is terrific in the role, exuding dark beauty and burnished resilience in the face of many terrors. Brad Dourif has an intense extended cameo as a doctor with icky ties to the origin of the headhunter as well, adding a welcome bonus horror flavor. Also watch for another intense actor, James Russo, playing a police detective determined to nab the killer for good. As far as Dario's stuff goes, this is about as complete and cohesive a narrative as you will find. Granted it's not the garish psychedelia of classics like Suspiria, Phenomena and Inferno, but a little more subdued and clinical, a dark fairy tale that gets genuinely scary in several excellently staged scenes and provides loads of uneasy atmosphere.

tomgillespie2002 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.

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...

acidburn-10 "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.