In nearly every review, we talk about genre. It's not important to label movies, but this kind of shorthand does make it easier to discuss films. And once we pick a genre for a movie, we can often break that down into subgenres. And within those subgenres, we find "types" of movies. Trespass could be labeled as a thriller. We could also go as far as to call it an action-thriller. We could then take that a step further and say that within that sub-genre, this is a "home invasion" movie. The question becomes, can it bring anything new to that type of film?

Kyle (Nicolas Cage) and Sarah Miller (Nicole Kidman) live in a lavish, secluded house with their teenaged daughter, Avery (Liana Liberato). Kyle is a busy businessman, and when he arrives home, he can't get off of the phone. Meanwhile, Sarah and Avery are arguing, as the girl wants to attend a party. We hear Kyle in a heavy negotiation, and once he's off the phone, he announces that he has to go back out in order to close a deal selling a diamond. As this is happening, Avery sneaks out of the house. Kyle is preparing to go when the police arrive at the gate, stating that they are going house-to-house, warning residents of recent burglaries. Kyle opens the door to find three armed men and a woman. Elias (Ben Mendelsohn), Jonah (Cam Gigandet), and Ty (Dash Mihok) force Kyle and Sarah into the office, while Petal (Jordana Spiro) explores the house. Thus begins a game of cat-and-mouse, as Elias demands that Kyle had over cash and diamonds, as Kyle explains why he can't. As the night wears on, the gunmen lose their patience and violence isn't far behind.

Why did this happen? The answer is a simple, yet complicated one. First things first, Trespass is not one of those stinkers which the studio wants to quickly dump onto home video (ie: sweep it under the rug). The movie runs just a hair over 90-minutes and the pacing is quite good. The script continues to build upon itself, revealing little twists and turns every few minutes. The acting is good, as Cage only goes into "Nicolas Cage mode" a few times during the movie. Kidman is solid, as one would expect, and Mendelsohn, who looks like a sinister Jim Varney, makes for a complicated villain. Schumacher gives the movie a slick and polished look, without resorting to his old tricks of using garish colors.

Trespass is a lot like discount pizza. You'll eat it, and tolerate it, but you know that there's something much better out there. The funny thing about Trespass is that I've seen far, far worse movies which not only got a wide release in theaters, but performed well. The movie is no classic, and it's only worth a rental, but trust me, you can do much worse.

Trespass made me question the efficiency of BMW airbags on Blu-ray Disc courtesy of Millennium Entertainment. The film has been letterboxed at 2.35:1 and the Disc contains an AVC 1080p HD transfer which runs at an average of 25 Mbps. The image is very sharp and clear, showing only a slight amount of grain at times and no defects from the source materials. The picture has a crisp look, which lends to the overall slick feel. The colors look good, and the image is never overly dark or bright. The level of detail is very good, as we can see every pore on the actor's faces. The Disc carries a Dolby TrueHD 5.1 audio track which runs at 48 kHz and an average of 2.0 Mbps. The track provides clear dialogue and sound effects. The stereo effects are nicely detailed and show good separation. The surround sound effects share these traits as well. The mix does a fine job of illustrating sounds coming from off-screen, and we get a lot of these, as things are happening throughout the house. The gunfire and punches shine through the subwoofer.

The Trespass Blu-ray Disc contains only one extra. "Trespass: Inside the Thriller" (5 minutes) is a fairly straight-forward featurette which offers comments from Schumacher and the cast, along with some on-set footage. They talk about the story, the characters, and how Schumacher crafted the film. The interesting thing here is that Eli Richbourg appears in the piece and is identified as the "Writer". However, the film's credits identify the writer as Karl Gajdusek. Who is Richbourg? His IMDB.com page reveals that he's worked with Schumacher for years. Very interesting.