It’s another year for some classic Shyamalan camp, this time brought to life by Josh Hartnett, a girl-dad who’s loving, mild-mannered, and out of loop with what the kids are talking about these days. He fulfills his dad duties and takes his teenage daughter, Riley, to a pop concert – only to discover it’s a trap for a serial killer famously known as “The Butcher.” The kicker? Cooper is the Butcher. If you’re a Shyamalan aficionado, you’ll recognize that Trap definitely veers more towards the style of Old rather than The Sixth Sense.
First off, it’s a joy to see Hartnett leading on screen, with such explosive charm to pull off a such a slick and likable psychopath. The cinematography, as the film would put it, is crispy. The actors are framed within these sick extreme close-ups every few minutes, creating a sensation that they are talking straight to the audience.
The dialogue sometimes makes you wonder if Shyamalan has ever had a real conversation, but paired with these intense close-ups, it somehow works to give us a peek into Cooper’s mind, where everything is cranked up to eleven. It’s a cool, creative effort by Shyamalan and his cinematographer, Sayombhu Mukdeeprom, who also did impressive work on Luca Guadagnino’s Call Me By Your Name.
You can also always count on Shyamalan for the scene-stealing cameos, and this film is no exception. Both Russ and Kid Cudi not only appear in the movie – with Cudi even contributing to one of the funniest moments — but also lend their talents to the official soundtrack.
Allison Pill, while making a late entry in the second half, manages to leave a memorable mark, holding her own against Hartnett’s strong performance. Then there’s Saleka, whose acting might not break any new ground, but succeeds in making waves with her music by producing and writing over a dozen original tracks for the pop-girl persona, Lady Raven. The catchy songs easily convince you exactly why you’re a part of this sell-out concert.
Despite all the good, Trap is still riddled with glaring plot holes, and for a psychological thriller, everything feels far too easy. The big reveals are straightforward, the dialogue feels like a spoon-feeding fest, and Cooper seems to breeze through every situation without much trouble. The script’s credibility gradually stretches thin, indulging too much in the protagonist’s smooth sailing, which creates no real sense of challenge for him. It’s almost like watching nearly two hours of Josh Hartnett easily manipulating people and getting away with it as if it’s just a walk in the park.
If it weren’t for Hartnett’s spot-on facial expressions — every frown and eye twitch — it would be hard to gauge whether Cooper is, or should even be, struggling at all. As the story unfolds, everything grows increasingly more illogical and implausible. This kind of easy escape settles into a repetitive cycle, ultimately draining the film of its tension, which isn’t ideal for the intended psychological thrills.
That said, the film benefits from not taking itself that seriously. Thanks to some classic Shyamalan goofiness thrown in, it finds a surprisingly decent balance between tension and playfulness. One of the standout moments? Watching Hartnett push a drunk woman down the stairs to cause a distraction for his tricky situation.
I’ve heard people say Shyamalan’s humor is unintentional, but I disagree. This comedic edge has definitely become part of his style over time, and it’s one of the few things in Trap that truly stands out as a character of its own.
Trap is the kind of film that you’re glad exists. It is innovative in how it brings forth a fresh concept and setting that keeps you curious about what’s next. I mean, who else but Shyamalan would pitch a movie as Silence of The Lambs meets a Taylor Swift concert? The film itself might not be the best psychological thriller or comedy out there, but it is undeniably a blast to watch.
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