Trust is, if nothing else, a well-made film. It has some great performances from a stellar cast, is ably directed by David Schwimmer, and has a coherent and believable story. In fact, the storyline is very believable. It's really, really, believable. Probably because it's a story we hear every other day, and are warned about the rest of the time. As such, there isn't really anything shocking about it, or even particularly informative. There have probably been three Lifetime movies about this exact subject, although I'm willing to bet none of them starred Clive Owen.
You know you're in for a mind-bendy metapalooza when you go to see a Charlie Kaufman movie. Since capturing the hearts of critics with his dizzying dark comedy Being John Malkovich nearly a decade ago, Kaufman has been fairly consistent in his subject matter, bringing his distinctly dreamy surrealism to meditations on love, identity, art, fame and mortality. His latest, Synecdoche, New York, is a continuation of this odyssey, though infinitely bleaker and, if possible, even more complex to unravel than his previous offerings. As a friend put it perfectly when we left the two-hours-plus screening, by comparison it makes Adaptation seem like Sisterhood of the Traveling Pants.