Trust (1990)

The Worst Film Ever

Such a frustrating disappointment

If you don't like this, we can't be friends.

By the time the dramatic fireworks start popping off, each one feels earned.

A teenage girl Maria is pregnant, dumped by her boy friend and thrown out of her house, meets a young man Mathew."Trust" is the tile of the movie. But, contradictory to the title, trust is broken everywhere around Maria in the film. The movie starts with a teenage girl, where she breaks the trust of her parents; she is pregnant. As she is trying to rely on her boy friend, he dumps her. Meanwhile, a young angry man, Mathew is portrayed in the best way that he always want to keep the "Trust" in safe mode. He is ill treated by his strict father, who always ask him to wash the toilet.In search of a shelter, Maria and Mathew meet under an abandoned house. Mathew takes her to his home. As expected things go worst as his father returns and see Maria in his house. With no option remaining, they go to Maria's house.I was surprised that I never heard about this movie before. I don't know how I ever missed such a great film.One of the best Indie movies ever made. I loved the movie. A must watch. Highly recommended! #KiduMovie

When I heard the title in the book of 1001 Movies You Must See Before You Die I wrongly assumed it might be a foreign film, it was certainly an obscure probably not that well known film I wouldn't have heard of without the book, and one I was willing to try too. Basically Maria Coughlin (Waitress actress and director Adrienne Shelly) is a high school dropout, and causes her father Jim (John MacKay) to drop dead from heart failure and mother Jean (Merritt Nelson) to throw her out when she announces to her parents that she is pregnant, her boyfriend dumps her as well, leaving her alone and homeless. With nowhere to go she wanders into her Long Island town hoping to find somewhere to stay, and there she meets educated high school graduate Matthew Slaughter (Insomnia's Martin Donovan), who also has a great talent for fixing electronic devices, but he can't keep any job he finds because of his moodiness, he just lost his job repairing televisions because the company wanted him to cut corners, and he carries a hand grenade in case of an emergency. Matthew volunteers to help Maria any way he can, including letting her stay with him and anything he can do during her pregnancy, but she is highly considering getting an abortion, because of all the hassle a baby would cause, and spending time with each other the two misfits change each other and form an unusual non sexual relationship based on trust, but of course each other's families try to interfere, without success. Also starring The Sopranos' Edie Falco as Peg Coughlin, Gary Sauer as Anthony and In the Company of Men's Matt Malloy as Ed. This is one of those Marmite kind of independent films, you either love it or don't understand it (I doubt anyone will hate it), I found it a really interesting alternative love story with a good tragicomedy element to it, it was funny with it's dark humour, and it definitely unusual, I agree it may not be the most involving story all the way through, but it is a watchable drama. Good!

Most popular films delineate their stories in a rather comical and insipid way: the dialogue is often exchanged between characters as if it were bounced off a Spartan gladiator - and, in some cases very little to short-of-nothing is penetrable in the film."Trust" is a film that inverses that idea - and does so with wit, charm, and most importantly: astute cleverness. The story begins with careful sequencing that portrays each character a new journey of life. We see an antisocial protagonist, a pregnant girl who recently dropped out of high school, and a motherly type whose apathy is cunning and partially insane. "Trust" is a love story that defies any cliché of filmmaking. The lead character pours his organism into the film and invokes integrity of personality without apprehension or any constipation (who can forget that wit from Mr Slaughter??) The film is about what happens when we take chances, and don't take chances. In short: it's about being and what happens when we share our being with others.The film's sequencing is what I loved most of all. It's weaved into a fabric that reminded me of early avant-garde films (the envelope of the story is reminiscent of Kubricks's older film "The Killing") and perhaps more-or-less surprising is the protagonist(played by Martin Donovan) exchanges silence; those rare moments in the film that can't help to be compared to the work of Godard. Momentarily, it shines solicitude and violence (the symbolism is slightly ironic and very insincere.) My favorite moments are about jeering characters who feel unwanted.A definite must-watch. I recommend it to anyone, everyone.

An all-time favourite. Hal Hartley's world may take some getting used to – and judging from some reviews here, not everyone does – but once you're in, it's a parallel universe where disaffected people exchange darkly funny deadpan lines in a rhythmic fashion, reflecting on weighty topics whilst existing in a bleak, northern working town world. Hartley regulars Martin Donovan and the late, wonderful Adrienne Shelly perfectly represent disaffection and spoilt self-inflicted misery respectively. Their growing intimacy echoes that of the viewer, being drawn into this world. Judging by how relatively few user reviews Hartley's films get on IMDb, I think they're maybe being lost slightly in the mists of time. But younger film fans shouldn't be put off by the look or sound, which fixes them in time: if you liked "Ghost World" I think you'll like this - It's as rebellious, and as dark and funny.Donovan's character, Matthew, is bored, angry, an electronics genius. His control freak, bully Dad keeps fixing him up with dead-end electronics jobs, and Matthew can't stand them. He's a picture of hopeless disaffection. Shelley's Maria is an over-dressed, over-made-up brat, convinced her life is all mapped out. She's pregnant, and her blunt, selfish breaking of the news to her parents proves the death stroke to her father. With her bright hair, her pink painted pout, her awful college football boyfriend and her breezy confidence that life will bend to her shallow desires, she's just made for a fall in the biblical tradition.They meet, as they must, and drag each other through a difficult transition from where they are, to where they might, just possibly, get to be, together. They both try to transform, with varying results. They discuss love and the nature of love; her vengeful mother tries to trick them both; Matthew, whose stark life becomes more complicated, tries to stick with the steady dead end job he's always despised; Maria's lurid life steadily simplifies to beautifully stark things. Sideline characters add colour; the weary nurse at the abortion clinic, the divorcée sister, Matthew's dad, the baby-thief.As a troubled teenager, I watched Hal Hartley's films on the - then - visionary Channel 4 in Britain in the late 80s and early 90s, and felt that they were speaking to me, directly, not necessarily with comforting messages of hope – just communicating, as little else around me then seemed to have the power to do.Hartley's films are in no way pieces of realism, or even magical realism. His style embraces artifice, but in so doing he creates a very consistent world, where themes and character types recur, and in being artificial, expose the artificial in life, too. It's somewhat bleak, but I find that a very comforting place to be. I can't recommend his films highly enough for anyone for whom the ultra-shallow glossiness of mainstream Hollywood output is just not good enough: "Trust", "The Unbelievable Truth" and "Amateur" are the ones to see.