Danny Boyle’s “Trance” tries to enthrall the audience by being tricky and trippy. It traffics in hypnosis and makes you wonder whether what you’re watching is really happening or just an implanted memory. It wants to be Alfred Hitchcock on steroids, with wild scenes that send you down a swirling, nightmarish vortex.
But none of this works if the characters onscreen don’t inspire your allegiance. Why should you care if you can’t figure out who’s good and who’s bad? Hitchcock never left us with so many questions. Gregory Peck’s character in “Spellbound,” for instance, was being framed for murder. At first, you couldn’t be sure that Peck’s character was good, but you knew that Ingrid Bergman, who was almost always good, probably wouldn’t side with a bad guy.
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