“Trap” Review: M. Night Shyamalan’s Latest

When I settled into my theater seat for M. Night Shyamalan’s latest film, “Trap,” I was prepared for the unexpected. After all, Shyamalan has built a career on narrative surprises and twists that have left audiences both baffled and amazed. But with “Trap,” the unexpected came in a different form: a straightforward reveal and a narrative that played with new thematic ground for the director. This was not the Shyamalan of “The Sixth Sense” or even “Signs,” but something else entirely.

The Premise and Early Reveals

“Trap” introduces us to Cooper (Josh Hartnett), a seemingly nice guy and doting father who takes his teenage daughter, Riley (Ariel Donoghue), to a concert headlined by the pop sensation Lady Raven (Saleka Shyamalan). What unfolds is not your average father-daughter bonding experience. The concert is actually a front for a police operation aimed at capturing Cooper, who is revealed early on to be a notorious serial killer known as The Butcher.

This early reveal was both bold and disorienting. Shyamalan, known for his climactic twists, lays his cards on the table early, challenging the audience to find their footing in a narrative where the “twist” is a starting point rather than a conclusion. This approach is a double-edged sword. On one hand, it allows for a deeper character study of Cooper, but on the other, it dissipates some of the suspense that could have propelled the narrative forward.

Josh Hartnett’s Performance: A Highlight Amidst Ambiguity

Josh Hartnett’s portrayal of Cooper is the film’s linchpin. Fresh off his role in “Oppenheimer,” Hartnett delivers a performance that is both unnerving and captivating. His Cooper is not the understated psychopath we’re used to in thrillers; instead, Hartnett gives us a man whose attempts to mimic normalcy are almost painfully awkward. His smiles are strained, his pleasantries are forced, and his manic enthusiasm in casual interactions is a bizarre spectacle to behold.

In many ways, Hartnett’s performance reminded me of the peculiar energy of “Twin Peaks” characters—there’s an undercurrent of darkness beneath the overzealous suburban dad facade. This energy keeps “Trap” engaging, even when other elements falter.

Musical Interludes and Pacing Issues

One of the film’s more contentious points is its heavy focus on the concert. Saleka Shyamalan’s Lady Raven is not just a plot device but a central figure whose performances dominate significant screen time. While Saleka wrote 14 songs for the film, the music, while competent, doesn’t quite reach the catchy heights of the pop stars she emulates. This wouldn’t be an issue if the concert scenes didn’t feel like an extended music video that occasionally sidetracked the narrative’s momentum.

The concert setting aims to be immersive, and at times, it achieves this by making the audience feel like they are part of the crowd. However, the lengthy focus on these performances leads to pacing issues, where the thriller elements take a back seat to musical showcases. This imbalance is “Trap’s” biggest misstep, making the first half feel like a different movie than the thriller it promises to be.

Supporting Cast and Character Dynamics

The supporting cast, including Ariel Donoghue and Jonathan Langdon, add depth to the world around Cooper. Donoghue’s Riley is convincingly written and played with a mix of teenage enthusiasm and growing suspicion of her father. Langdon provides some much-needed humor as Jamie, the vendor who clues Cooper into the police trap, offering a lighter counterpoint to the film’s darker themes.

Veteran actress Hayley Mills, as the mastermind behind the police operation, is regally underused. Her character is more of a narrative pivot than a fully realized person, which feels like a missed opportunity to delve deeper into the strategizing behind the trap.

Cinematography and Technical Aspects

From a technical standpoint, “Trap” is polished. The cinematography by Sayombhu Mukdeeprom, while occasionally too fixated on the concert’s big screens, does a competent job of keeping us rooted in Cooper’s perspective. The editing by Noemi Katharina Preiswerk, however, lacks the rhythm that could have enhanced the film’s suspenseful moments, especially during the concert sequences.

A New Kind of Shyamalan Film

“Trap” is a departure for Shyamalan, not just in its early reveal but in its tone. The film oscillates between being a straightforward thriller and a character study with a satirical edge. This tonal inconsistency can be jarring, as if Shyamalan himself is experimenting with how far he can push the boundaries of his own style.

Exploring Societal Themes

What “Trap” does manage to do, amidst its tonal fluctuations, is present a subtle critique of societal norms. Cooper, with his attractive, confident demeanor, navigates the world with an ease that speaks volumes about societal perceptions. The film cleverly exploits this, showing how Cooper can blend into the background despite his sinister nature. This aspect is one of the more intellectually stimulating parts of “Trap,” as it forces the audience to confront their own biases and assumptions. It’s a reminder that danger often comes in the most palatable packages.

The Concert Experience and Narrative Dissonance

The concert experience in “Trap” is a double-edged sword. On one hand, it provides a unique setting that’s ripe for tension and chaos. The idea of being trapped in a massive arena with a killer on the loose could have been a masterful setup for a claustrophobic thriller. However, the execution leans heavily into the concert itself, diluting the tension with extended musical performances.

This decision is ambitious but ultimately detracts from the thriller aspect. Instead of feeling like “Die Hard” in an arena, “Trap” sometimes feels more like a behind-the-scenes look at a pop concert. While this might be a treat for music fans, it leaves those looking for a tight, cohesive thriller wanting more.

Underbaked Elements and Missed Opportunities

Shyamalan’s script shows glimpses of a more complex narrative that could have been explored. The dynamics between Cooper and his daughter, the psychological play of the police operation, and the undercurrents of societal critique all suggest a richer film that got lost in its own spectacle. The narrative feels underbaked, with key elements introduced but not fully developed.

Hayley Mills’ character, for instance, is an enigma who could have added much-needed gravitas and complexity to the police operation. Instead, she serves more as an expository tool than a character, which is a shame given Mills’ commanding presence. The film needed more of her strategic mind and less of the one-dimensional approach it settled for.

Final Act and Resolution

Despite its uneven pacing, “Trap” does manage to pull together for a mostly satisfying conclusion. The final act accelerates the suspense that was missing in earlier parts, delivering some genuine thrills and a sense of urgency. Here, Shyamalan remembers his roots, and the film benefits from this shift.

The resolution answers enough questions to be satisfying without being overly neat. It’s here that “Trap” finds its best balance between character study and thriller, giving Hartnett some of his best moments. His final scenes are a mix of desperation and dark revelation, showcasing the actor’s range and the narrative’s potential.

The Verdict: A Mixed Bag but Worth Watching

“Trap” is a film of contrasts. It’s both a missed opportunity and a fascinating experiment. It’s a showcase for Josh Hartnett’s talents and a testament to Shyamalan’s willingness to explore new narrative territories. While not all these experiments work, the film is never boring.

For fans of Shyamalan, “Trap” will be a curious entry in his filmography. It lacks the depth and cohesion of his best work but shows that he is not content to rest on his laurels. For those new to his films, “Trap” might seem like an odd mix of thriller and concert film, but it’s this very oddness that gives it a unique charm.

Ultimately, “Trap” is a popcorn movie with aspirations of being something more. It’s a film that entertains and frustrates in equal measure, but one that’s definitely worth a watch for the performances and the sheer audacity of its approach.

Rating: 3 out of 5 stars

“Trap,” a Warner Bros. release, is now showing in theaters and is rated PG-13 for brief strong language and some violent content. The film runs for 105 minutes, and while it may not be Shyamalan’s most polished work, it’s an intriguing addition to his diverse body of cinematic experiments.