Entertainment Weekly

Never a terribly coherent storyteller, here the gorehound’s Godard dispenses almost entirely with the plot development. Instead, Argento concentrates on mood, and, making terrific use of various run-down Minneapolis locations, he succeeds in giving Trauma the feel of a waking nightmare

Entertainment Weekly by Glenn Kenny

Never a terribly coherent storyteller, here the gorehound’s Godard dispenses almost entirely with the plot development. Instead, Argento concentrates on mood, and, making terrific use of various run-down Minneapolis locations, he succeeds in giving Trauma the feel of a waking nightmare

The Globe and Mail (Toronto)

While Trauma is a veritable stew of psychological motivation compared to so many of the director's other films, the prevailing motivation remains, just as it is with Argento's killers, technique. [15 Sep 1993]

IGN

The script – which revolves around a serial killer and explores the idea of traumas both mental and physical – isn't particularly strong, but the direction is, as always, first-rate.

The Globe and Mail (Toronto) by Staff (Not Credited)

While Trauma is a veritable stew of psychological motivation compared to so many of the director's other films, the prevailing motivation remains, just as it is with Argento's killers, technique. [15 Sep 1993]

IGN by Christopher Monfette

The script – which revolves around a serial killer and explores the idea of traumas both mental and physical – isn't particularly strong, but the direction is, as always, first-rate.

Slant Magazine by Ed Gonzalez

Trauma is both an underachieving Deep Red and an unpolished facsimile of Stendhal Syndrome, and where Tenebre invites active spectatorship, Trauma is convoluted to the point of distraction, worth savoring solely for Argento’s excesses of gore.

Screen Rant

While the film has an excellent concept, its overuse of traumatic medical conditions, disorders, botched surgeries, and motherhood makes for a confusing plot that has too many moving parts to retain a cohesive story.

TV Guide Magazine

The first American feature from Italian cult director Dario Argento, TRAUMA is not as flamboyant and extreme as his previous films but still manages to deliver the goods.

Screen Rant by Mara Bachman

While the film has an excellent concept, its overuse of traumatic medical conditions, disorders, botched surgeries, and motherhood makes for a confusing plot that has too many moving parts to retain a cohesive story.

TV Guide Magazine by Staff (Not Credited)

The first American feature from Italian cult director Dario Argento, TRAUMA is not as flamboyant and extreme as his previous films but still manages to deliver the goods.

Time Out

There isn't a half decent performance to be found here, and his own daughter in the female lead is particularly awful. Also, a barely credible plot and uneven pacing don't help. Yet Argento's occasionally brilliant camerawork and the evident glee with which he sets about the decapitation scenes make this just about worthwhile.

Slashfilm

A film that ultimately feels forgettable as nothing about it, from visuals to score, finds a home in your brain (and that includes ending with a weird music video during the end credits).

Slashfilm by Rob Hunter

A film that ultimately feels forgettable as nothing about it, from visuals to score, finds a home in your brain (and that includes ending with a weird music video during the end credits).

Time Out by Staff (Not Credited)

There isn't a half decent performance to be found here, and his own daughter in the female lead is particularly awful. Also, a barely credible plot and uneven pacing don't help. Yet Argento's occasionally brilliant camerawork and the evident glee with which he sets about the decapitation scenes make this just about worthwhile.