We’ve all watched it. Discuss. I will start.
Mr. L – Joel Schumacher is the crappiest crap director that ever crapped out a movie. Trespass is the best evdience of this as fact.
I would like to raise Trespass to a higher level than Batman Forever, which tested my belief in how anyone could not have seen such monumental shit being pieced together while it was happening and didn’t try to halt or fix it. Trespass is quite watchable in the train wreck sense – if the survivors of the wreck kept wandering back into the twisted metal and carnage. It just goes on in circles, with flashback circles rippling within. It’s astonishingly awful, but surprisingly watchable.
It’s ugly. Who was the cinematographer. OK, Batman Forever proves that Schumacher has a signature terrible look, but this isn’t supposed to be cartoony. Well, Nicolas Cage may have thought it was a cartoon.
The script! Miserable! Was this what it looked like when Nicole Kidman read it? Did she read it? Who was the screenwriter and how did this script ever get any farther than the nearest garbage can?
So am I blaming the cinematographer and screenwriter? They are mere collaborators. This still comes from the guiding, misguiding hand of Joel Schumacher.
Now, who is going to talk about the 911 call center lady?
I hate HATE Joel Schumacher. With so many movies failing why would anyone give this guy a dime?
The look is awful. It doesn’t do anything for anyone or anything in the movie.
I wonder if the script was changed a lot during the filming. It may account for the complete lack of common sense. That or a blind script supervisor.
Here are some issues:
what’s with the druggy girlfriend immediately taking off her mask – which seemed important in the beginning – soon followed by getting high and trying on dresses? why didn’t anyone say – hey where’s that girl? and why didn’t anyone yell at her when she came in out of her mask and in an evening gown?
why – lord why when any one got of the house did they turn around and go back? neighbors – police – forest animals would have been a better idea than GOING BACK TO THE HOUSE.
call center lady – I don’t think she was 911. I think she was working for the security company and a conduit to 911. my concern here is if the keypad scans fingerprints surely there must be a distress code word with this stupid system. I simply can’t believe there’s only one password. well, I simply can’t believe many things about this movie. like why it exists.
is it possibly Nicolas Cage and Nicole Kidman had contract fulfillments?
Oh yes, I was so caught up in my memories of the call center lady that I tossed in 911. Of course they had to supply her the password: DIAMOND! She is emblematic of the film. At last, I thought, the film is going to take a direction and stay its course. No. We just invested a few more minutes in a character who is tangential to the story and will contribute nothing to it. Like almost all of the film’s plot devices.
I must agree that the stripper’s presence and participation in the robbery was simply baffling. The editing was so poor that when she was upstairs in the bedroom, I became confused and thought we had entered a flashback. Or wait, was this a different character? No, I distinctly remember the stripper because she apparently didn’t feel the need for a mask like her fellow thugs.
While on the subject of the stripper, I submit this as required reading:
Please also note the reviewer’s comments on the cinematography.
I also ask that you direct your attention to this piece:
The script gets a perfect summation:
“It’s just a series of fortuitous coincidences that keep the plot spinning around. A lot of things are happening, but it’s an exercise in futility because none of it is leading to anything.”
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