After forging brilliance at the Olympic Opening Ceremony youd have been forgiven for expecting Danny Boyle would get a free pass in his return to the cinema. But when Trance burst out earlier this year it was met with a sense of distance from critics and had the directors worst box office haul since the much more low key Millions. The thing is, all this animosity was unfounded. Trance may not sit against Trainspotting in its raw capturing of a British city or 127 Hours for sheer viscerality but it was an entertaining film that when I left the cinema had me dubbing it an English Inception; there are multiple levels of dreams, a characters memory rewritten and a final ambiguous shot to spark post-credits conversation. However, like The Machinist to Fight Club, the similarities are plot deep, with both films exploring completely different things. Telling the story of an art heist gone wrong and the drastic attempts to sort it out, Trance is set in a clean, totally modern London (and some grubbier dreamscapes) that borders on classical sci-fi and feels different to anything Boyle delivered before. There are a few too many misdirections, but the film never lags and the criticisms of a poor script feel like the points been missed.