Jason Bourne is back with a vengeance, overshadowing, out-running and over-thinking modern mayhem movies. Into the midst of summer bursts Bourne -- smart, edgy, ambivalent about its mission but not its message -- both cinematic and political.
One of the most successful scenes is the wedding of this couple, with a sumptuous cake and colorful balloons flying in the air, while a crowd of young upper class wedding partyers boisterously cheer.
Certainly the pedigree of Child 44 makes it seem promising. But the timing of the release -- April, a pre-summer graveyard -- and the fact that it wasn't screened for critics until shortly before opening both mitigate against it.
There is plenty to distract you at the Sundance Film Festival, from parties to gifting suites (which journalists are invited to report on but never to actually visit) to other film festivals going on in Park City at the same time.
Trance isn't out to save the world, but it's nice to see a solid little piece of entertainment that has a fun time mashing up genres, going against conventions, and keeping you guessing.
Where some of Boyle's kinetic, hyper-stylized music video camera approach in Slumdog Millionaire and 127 Hours felt a little out of place, it is perfect in Trance: a techno heist film. I'd almost call it a cyberpunk movie, as it feels plugged into some technological grid.
Playing a sophisticated London auctioneer, James McAvoy gazes into the camera with cool, nerveless clarity as his voiceover gives us the inside tricks of protecting and stealing a painting.
Full Segment:Director Danny Boyle, best known for his films 'Trainspotting' and 'Slumdog Millionaire,' joins HuffPost Live to talk about his latest thriller 'Trance.'