Never a man to make the same film twice, Danny Boyle turns to neo-noir for this heist based psycho-thriller that has more stomach dropping twists than the Superman ride at Movie World. Working up a mind-bending script (literally and metaphorically) from Trainspotting collaborator John Hodge, Boyle effortlessly shows why he’s a director at the peak of his talent. In some ways this is a distillation of a number of his films – all housed in a shiny, colourful skin that hints at The Beach and Slumdog Millionaire. The only thing missing is the human connection that made Trainspotting what it was, and took Slumdog to the Oscars.

Simon (James McAvoy) works in a high end auction house in London and has problems, one is a huge gambling debt, the other is oily Franck (Vincent Cassall), an art thief. They’ve hatched a plan that will deliver a valuable Goya to Franck and wipe Simon’s debt. When he decides to double-cross his employer and gets a severe beating for his trouble, Simon forgets where he’s hidden the picture. Enter hypnotherapist Elizabeth (Rosario Dawson) who might help him locate his memories, a process that sparks an untidy line of loyalty that leads them and the audience to dark, brutal and unexpected places.

You could argue that this is familiar territory for Boyle; once set up, Trainspotting boiled down to a heist movie: McAvoy’s cheeky Scottish narrator is more than a nod to McGregor’s Renton. The difference here is that as Simon, Franck and Elizabeth reveal their true purpose and true selves in a number of exhilarating gear changes, they become less and less likeable. In fact, quite reprehensible. Despite emotional (and physical) revelations, they carve out a hollow centre which is never quite filled.

Of course, many people are utterly reprehensible and some baubles are not to be dissected. Boyle’s glittering production in a familiar yet oblique London keeps you connected, while Hodge’s script certainly keeps you guessing. Right to the final frame in fact when, as with similar mind-benders like Inception, you’ll probably spend the trip home arguing about whether you’ve been cheated or not. Trance undoubtedly bears a second viewing to tie the myriad of threads back together and determine their strength and veracity.

So if you accept the questionable basis of the film (very easily done), embrace the electric performances of its leads and enjoy the pulsing, signature direction of one of Britain’s great filmmakers, Trance is as hypnotic (ahem) a ride as anything you’ll see this year.

// COLIN FRASER

Previewed at Events Cinemas, George St, Sydney on Thursday 21 March 2013