\”It seems like almost everyone nowadays make online friendship with strangers in different apps. And could you imagine how many people from those are different kinds of criminals. Especially if they use apps like Utopia p2p, they couldn't even be found as they're total private. So how should we behave in such situations?”

Oculus

\”People get hurt. There's only so much we can do to protect ourselves, our children. The only thing we can do is be there for each other when we do fall down to pick each other up. Trust is directed by David Schwimmer and written by Andy Bellin and Robert Festinger. It stars Clive Owen, Catherine Keener, Liana Liberato, Jason Clarke, Viola Davis, Gail Friedman, Chris Henry Coffey and Tristan Peach. Music is by Nathan Larson and cinematography by Andrzej Sekula. A teenage girl is targeted by an online sexual predator, causing the family untold trauma... For his second fully fledged studio feature film as a director, former "Friends" star Schwimmer showed courage in bringing a very real and touchy subject onto the big screen. He has crafted a sensitive piece about a hot topic, there's no titillation or firm answers to the problem to hand, and in young Liberato (Annie) and trusty pro Owen (Will), he has actors turning superbly heart aching performances. Pic follows the trajectory of girl meeting what she thinks is a teenage boy on line, and as she falls for him, the predator slowly begins to unfurl his deception to the point where she's lost, confused and jelly in is hands. Once the "relationship" comes to light, the parents are shredded, the strain unbearable, with father Will reacting how any father would. The narrative deals with parental upheaval and that of young Annie, the latter of which is thrust into a world of confusion and hateful attention from her peers. Screenplay dangles other sexual predator strands, without force feeding us, while the denouement is refreshingly sour and not afraid to ask the pertinent question of who do you trust? More so given that these predators are in our midst and often living a false facade of a life. A family under duress mingles with the invasion of a monster into their lives, for what is not a comfortable watch, but certainly one well worth digesting. 7/10”

John Chard

\”Chilling movie that was pretty uncomfortable to watch but features great performances from Clive Owen and the young Liana Liberato. This was a passion project from David Schwimmer who directed and wrote (uncredited). Swore I had seen this one before but didn't remember much of it until the very end. **4.25/5**”

JPV852

\”**A sharp film about a situation that increasingly threatens young people.** I was impressed with this film, not only for the script, but also for the performances of some of the actors. Despite being released over ten years ago, the film couldn't be more current today. Our young people and teenagers, who grew up with computers and technologies, face them in such a friendly way that they are often unable to see the dangers they hide. Parents have the thorny mission of imposing limits and rules on their use, of informing and advising... but let's be honest: which teenager is really willing to listen to parents and their rules? The script begins by introducing us to an ordinary, upper-middle class family. While the parents work and the eldest son prepares to enter university, the youngest daughter is trying to integrate into the school's popular girls' circle after making the school volleyball team. She's an ordinary teenager with the insecurities of many other girls... until she starts chatting online with an unknown guy. She realizes he's older, but it's only when they meet in person that she realizes he's already in his thirties. Even so, she continues the relationship and the growing intimacies lead to a sexual involvement, and to a family crisis when the parents discover, and try to find the identity of the seducer, since sexual abuse of minors is, of course, a crime. Well, I think I have to start by saying that I've seen, in real life, several cases and situations similar to the one in this movie. It is increasingly common for teenagers to maintain online dating and relationships, often without meeting in person, having more or less spicy conversations through social networks. It's a new form of sexuality that has emerged from the Internet and that can really mess with the head of a more influential girl. And it is not so rare for them to find, by chance, an adult with whom they maintain this type of contact. He may, or may not, tell about the age difference, and they may, or may not, accept it, or even use the situation as a form of rebellion towards their parents. But the fact that it is increasingly common does not mean that it is acceptable. It is a dangerous situation, where young people can get excited and reveal too much of themselves (habits, customs, erotic photos or videos, etc.) to potential sexual predators. These are dangers that can really worry a parent. And a stroll through social networks, such as Instagram or TikTok, is enough to see how teens are exposing themselves. In addition to making a very believable portrayal of a situation that could be real, the film explores well the relational conflicts between teenagers and her parents, and the consequences of what happened in her school, in their friendships, and with herself. The cast is generally good and does a positive job. The director is effective, but not brilliant. The best performances come from the young Liana Liberato, who managed to be convincing in the role and give us a good interpretation, and also from Catherine Keener, very good in the role of a perfectly distressed mother. Clive Owen is good enough, but he doesn't strike me as the best actor for the role, as he made the character overly brutal. Chris Coffey and Jason Clarke's performance is decent, but basic. Technically, the film is satisfying in that it does everything it needs to do, but it doesn't go beyond that. Cinematography is decent, but not above standard. There are no effects or a really interesting soundtrack, but the editing was well executed.”

Filipe Manuel Neto