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14-year-old Annie (Liana Liberato) has an internet friend, Charlie, a boy who’s slightly older than her and using her laptop and phone they chat all the time and have a real connection. One day Charlie drops a bombshell and says he’s not actually fifteen but twenty and not long after he admits he’s twenty-five. Annie makes peace with this but when her parents (Clive Owen and Catherine Keener) take her older brother to college one weekend she arranges to meet up with Charlie and she finds out he’s actually closer to forty. Despite her initial reaction to leave, Annie spends the day with Charlie anyway and ends up in a motel room where Charlie takes advantage of the young girl and has sex with her. Soon a friend reports Annie’s ordeal to her teachers and when her parents find out they are devastated and when Annie remains adamant that nothing wrong has happened and that Charlie loves her making dealing with the situation too much for her parents to deal with.

Horror stories don’t come much more horrific than this lately. The simplicity of the situation and the predatory nature of these child abusers are every parent's worse nightmare, but with the added elements of the victim refusing to admit the darkness of situation just makes it so much harder to deal with and that’s a key factor of what makes David Schwimmer’s movie such a hard watch.

The devastation of the event is thoroughly felt and the uncomfortable to watch gauge is used with just the right amount of “what you don’t see makes it worse” to really sell the truly frightening situation but Schwimmer keeps the feeling of being powerless going via Clive Owen’s performance as Annie’s father. For the most part, this really feels like a genuine response from a father. His inability to stop thinking about it, his feelings of helplessness and his constant attempts to try and fix something that can’t really be fixed really hits home and on top of that Schwimmer presents our hyper sexualised world in a way that just lays it out like it is and in turn makes everyday life begin to feel a little wrong too.

You can really feel Schwimmer’s attention to detail here (this is all explained on the extras when he lets us know his involvement with the ‘Rape Foundation’ for a number of years), he’s out to paint a realistic picture and other than the almost totally unconvincing relationship with the cop who’s trying to find ‘Charlie’ - he feels a little too hands on with Clive Owen and their relationship feels like old college friends working together to solve the crime as opposed to a police officer providing updates to a sensitive case – this is an uncomfortable walk through a very dark hot topic in our society and isn’t afraid to give us a glimpse of the helpless nature of these situations after it’s gone too far.



As I mentioned above, Schwimmer is going for realism. While it’s not exactly gritty or documentary feeling the visuals here are still quite down to earth. The pale colours and natural lighting create a genuine family life feel and the odd use of vibrant colour is usually for effect, intentionally placed to hold our attention.

Black levels aren’t all that strong and often feel more like a dark blue shadow in the darker scenes. Also the transfer feels a little soft in places and never really pops but again this probably has something to do with chosen look of the movie and it’s non glossy Hollywood looks add a bit more weight to the story somehow.



The audio here is a nicely balanced affair. It knows when to keep it all about the dialogue (usually within loud raw sounding arguments) but the subtle inclusion of score that can sometimes build the scenes to a much more dramatic conclusions really works well. There are a few show-off moments including a club thumping gallery scene and the dream/fantasy sequences of Clive Owen beating on a child abuser which attack the senses while they last. When used, the rear speakers add a bit of depth and they also create a fair bit of ambience too. This is by no means the best track I’ve ever heard but it’s an effective one.



The only extra here is the making of (16:43 HD) which isn’t all that long but gives enough insight from the cast and Schwimmer to be acceptable.



Trust isn’t a movie that many will be comfortable watching - especially parents - and it’s not a run of the mill thriller, so don’t expect the child abuser to get a satisfying gunshot to the head at the end. David Schwimmer has created a good insight into the devastating effects these situations can have on a family and the questions it raises are all strong. The disc itself is pretty underwhelming on all fronts (besides a few glimmers on the audio track) but then again it’s not a movie out to entertain as much as it is to educate so all in all the presentation here is just about what would be expected.

* Note: The below images are taken from the Blu-ray release and resized for the page. Full-resolution captures are available by clicking individual images, but due to .jpg compression they are not necessarily representative of the quality of the transfer.